Skip to main content

Full text of "Community Media Review, Vol. 24, No. 3, Autumn 2001"

See other formats



TV/Web based Real Estate 


We would (ike to introduce you to MediaMake, the most advanced multimedia system in 
the world. Just tell us your application and we'll provide you with your own TV Channel or 
Network with a searchable, companion website. MediaMake is easy to own and operate, 
has delivered over 800 channels on air and comes with a money back guarantee. Come 
let us show you why North America's leading communications organizations are using 
MediaMake to produce turnkey TV/web systems. 



For a personalized demonstration please call Bil Trainor at 905-946-1122 x 223 or con- 
tact us through our website at 


620 Alden Road, Unit 103, Markham, Ontario, Canada L3R 9R7 

Tel: (905) 946-1122 x 223 • Fax: (905) 946-1144 • email: 

Product names mentioned herein may be trademarks and/or registered trademarks of their respective companies 

*j^Buhlite low energy^\ 
^studio and location 
* lighting systems. 




Buhl Industries, Inc. 

20 -10 Maple Ave., Bldg, #38 
Fair Lawn, NJ 07410 USA 

web centric head end control for access stations 

play nice. 




program library 
character generator 
web schedule 
event controller 

integrated eg that automatically generates 
schedule information 

[f you have hoped for a way to 
bring the pieces of your 
station's playback system 
under one control. If you create 
a schedule once, but type it 
four times into four different 
systems. You need to see 

Cablecast is a web centric 
system from Tightrope Media 
Systems that brings all the 
aspects of your head end under 
one easy to use interface. From 
programming your Leightronix 
event controller to publishing 
the schedule to your web site, 
there isn't an aspect of your 
head end that won t be 
simplified by Cablecast. 

Call toll free at (866) 866-4118 
or visit our web site at for more 

completely web centric interface so 
your staff can manage your station 
from anywhere 

Cablecast. the Cablecast Logo and the Tightrope Media Systems logo are Trademarks of Tightrope Media Systems Corporation. 


AUTUMN 2001 


Dirk Koning, Chair 
Pat Garlinghouse, Information Services Chair 
Betty Francis, Jeffrey Hansell, Lucille Frasca 
Harrigan, John Higgins, Jennifer A. Krebs 


Betty Francis / Jennifer Krebs 


Tim Goodwin 


Bunnie Riedel, Executive Director 
Diane Greenhalgh, Government 
Felicia Brown, Membership/Operations 


Paul D. Berg, Thomas Bishop, Carl Burton, 
Frank Clark, Pat Garlinghouse, Hairy Haasch, 
David Hawksworth, Ric Hayes, James Horwood, 
Serena Mann, Miguel Ortega, Steve Ranieri, 
Kevin Reynolds, John Rocco, Debby Rogers, 
lames C. Rossi, It, Ken Snider, Karen Toeting, 
Richard Turner, GregVawter, David Vogel 

Community Media Review [ISSN 1074-90041 
is published quarterly by the Alliance for 
Community Media, Inc. Subscriptions $35 a 
year. Please send subscriptions, memberships, 
address changes, advertising and editorial 
inquiries to the Alliance for Community Media, 
666 11th St. NW, Suite 740, Washington, DC 
20001-4542. Telephone 202.393.2650 voice, 
202.393.2653 fax. Email; or 
visit the Alliance for Community Media website 

Requests for bulk orders considered in 
advance of publication. Contact the national 
office for rates and delivery. 

Copyright ©2001 by the Alliance for Com- 
munity Media, Inc. Prior written permission of 
the Alliance for Community Media required for 
all reprints or usage. 

Produced through the studios of 


Upfront • pages 3-8 

Bunnie Riedel, Ric Hayes, Board of Directors 

Youth & Community Media * pages 9-22 

Introduction, Betty Francis, 9 / Youth in Media, Lin Gold, 1.1 / 
Manhattan's Youth Channel, Jeanesa Ramos, 13 / 
Chicago's Street-Level Youth Media, Paula 
Kowalczyk, 14 / Secrets of Success For Effective 
Youth Media, Marshall Parker, 16 / Houston 
MediaSource Youth Program, Pat Garlinghouse, 17 
/ This Is Not My Life!, Jeff Smith, 1 8 / Teens Put the Message into the 
Medium at Maiden, Susan Lawrence, 19 / Youth Program Evolves at 
CCTVin Cambridge, Ginny Berkowitz, 20 / Summer Medici Institute, 
Natasha Freidus, 20 / Youth Media Camp Scores at National 
Conference, Bill Nay, 21 

2001 Conference • pages 23-37 

Introduction and Photos, 23 / Award Winners 
Honored at National Conference, 24 / Home- 
town Awards Bigger Than Ever, 24 / PEG Access 
m rniJz*%> jtMk 1 ^ Channels: Localism and Diversity in Action, 
Conference Keynote Address, FCC Commissioner Gloria Tristani, 25 
/ The Community of Community Media, Patti Dallas, 27 / OAS Hosts 
Alliance International Reception, Jeff Hansell, 28 / Workshops Make 
the Conference, Pat Garlinghouse, 31 / Energetic Discussion- 
Highlights White Paper Session, John Higgins, 33 / Conference 
Photos, Jeff Hansell, Wita Duran, Tim Goodwin, 35 / Trade Show a 
Hit with Alliance Members, Jeff Hansell, 37 

As the journal of the Alliance for Community Media, Community Media Review shall support 
the Alliance mission by providing: a comprehensive, overview of past, present and future issues 
critical to the Alliance, and its membership; vigorous and thoughtful debate on those issues; 
and a venue for members and like-minded groups to present issues critical to the Alliance. 


PEG Access: A Community Gathering Place 


I am proud to be part of the Alliance 
for Community Media during this diffi- 
cult time in our nation's history. Over the 
last few weeks since the terrorists' 
attacks on the World Trade Center and 
the Pentagon, access centers have been 
responding to the crisis by hosting com- 
munity forums, live call-in programming 
and running bulletin board information 
to assist various relief efforts, Public, 
Educational and Government (PEG] 
access television doesn't attempt to sen- 
sationalize these already sensational 
events, but instead opens its airwaves as 
a gathering place for all people to come 
together to exchange information in the 

The job of access in our communities 
has taken on new importance as we help 
agencies, organizations and individuals 
share information with the public. It may 
be one of the few media outlets in the 
country where "alternative" viewpoints 
may be discussed in non-confrontational 
and thoughtful ways. 

Many access centers currendy air 
programming from various military 
branches, and this will take on greater 
importance as regular soliders, reservists 
and guards are deployed. Agencies such 
as Federal Emergency Management 
Administration (FEMA) are producing 
special programming on topics such as 
stress, civic safety and emergency 
response tactics. Relief agencies such as 
the Red Cross ate using access program- 
ming and bulletin boards to communi- 
cate directly with the public. 

The non-stop news coverage of the 
September 11, 2001 events has its place 
to be sure and no doubt many of us have 
been glued to our television sets or 
radios for the past few weeks. For me, the 
enormity and repetition of the news has 
had a mind numbing effect. I have been 
both captivated by it and completely 
overwhelmed by it. I now find myself 
consciously avoiding the news coverage 
because I don't know how much more I 
can emotionally process. In the midst of 
this I am asking friends and acquain- 
tances how their children are faring. 

The job of access in our communities 
has taken on new importance as 
we help agencies, organizations and 
individuals share information with 
the public. We may be one of the few 
media outlets in the country where 
"alternative" viewpoints may be 
discussed in non-confrontational 
and thoughtful ways. 

The responses are as varied as the 
kids. Pre-schoolers are not as aware of 
the events but diey know something is 
amiss (this they pick up from their par- 
ents). A friend of mine told me her seven 
year old grandson had refused to go to 
school for fear that it would be bombed. 
In his seven year old world there is very 
little difference between the World Trade 
Center and his elementary school, both 
are important institutions that seem 
impenetrable. The teenagers I have 
encountered are worried, scared and 
uncertain, and while these are normal 
everyday emotions for pre-adults, their 
angst for the future is not just personal 
but now it is quite global. 

PEG access stands ready to assist our 
communities' young people in exploring 
what has happened, giving them tools to 
communicate and and the ability to cre- 
ate responses that make sense to them. 

A great many adults feel quite power- 
less regarding the attacks and our 
national response, and those feelings of 
powerlessness are greatly compounded 
for our younger citizens. Access can act 
as a catalyst to empower these young 

| people, heighten their awareness of 
media literacy and offer them the oppor- 
tunity to be participants in our democ- 
ractic discourse rather than be mere 

! recipients of pundits and opinion-mak- 
ers' views. 

Access can also help young people 
explore collateral issues of racism, reli- 
gion, world affairs and patriotism, And at 
its most simplistic, creating video for tel- 

evision and the internet directs young 
energy into positive activity and away 
from anxiety and its potential for nega- 
tive behavior. 

I have no doubt in the next few 
months, access centers will be called on 
to continue to help their communities in 
assorted ways. At the Alliance for 
Community Media, we hope to assist you 
in sharing your projects and contribu- 
tions within our membership and to the 
public at large. If you have not already 
done so, sign up to be on the members 
listserv falliance-announce&lists or by going to our web- 
site [ and following 
the instructions. 

While the terrible events of 
September 11, 2001 have caused tremen- 
dous damage, loss of life and certainly 
the loss of innocence, now more than 
ever, we are called on to be strong and do 
what we do best, that is to "Build 
Community Through Media." 

Bunnie Riedel is executive director of the 
Alliance for Community Media. Contact her 



Richard Hayes Chair, At Large 

Executive Director 
Community Access Partners 

of San Buenaventura 
71 Day Rd., Ventura, CA 93003-2037 
Voice: 805.654.6417 

Harry Haasch Vice Chair, At Large 

Community Television Network 

425 S. Main. Suite LL 114 

Ann Arbor, MI 48104 

Voice: 734.994.1833 / Fax: 734.994.8731 


David Hawksworth Secretary 

Executive Director 

Community Access Television of Salina 
410 W. Ash St. 
Salina, KS 67402 

Voice: 785.823.2500 / Fax: 785.823.2599 
Email: daveh@salnet.oig 

Kevin Reynolds Treasurer, At-Large 

Northeast Regional Treasurer 
5520 North Bloomfield Rd. 
Canandaigua, NY 14424 
Voice: 716.394.3028 


James C. Rossi, Jr. Mid-Atlantic Chair, 

Chair of Chairs 


123 South Burrowes St., #304 

State College, PA 16801 

Voice: 814.238,5031 / Fax: 814.238.5368 

Thomas Bishop Central States Chair 

Norwood Community Television 
Pace Telecommunications Center 
PO Box 12366, Norwood, OH 45212 
Voice: 513.396.5573 / Fax: 513.396.5551 

Debby Rogers Northeast Representative 
Conference Planning Chair 

Executive Director 

Falmouth Community Television 

310 B Dillingham Ave. 

Falmouth, MA 02540 

Voice: 508.457.0800 / Fax: 508.457.1604 


David Vogel Southeast Chair 


912 S, Gay St. #600 

Knoxville, TN 37902 

Voice: 865.521.7475 / Fax: 865.971.4517 


Patricia Garlinghouse Southwest Chair 
Information Services Chair 

Houston MediaSource 
3900 Milam 
Houston, TX 77006 

Voice: 713.524.7700, xl3 / Fax: 713.524.3823 


Ken Snider Northwest Chair 

Multnomah Community Television 
26000 SE Stark St. 
Gresham, OR 97030 

Voice: 503.491.7636, x325 / Fax: 503.491.7417 

Steve Ranieri Western States Representative 

Quote.. .Unquote, Inc. 

600 First St. NW, Suite 100 

Albuquerque, NM 87102 

Voice: 505.243.0027 / Fax 505-243-5883 

ccc27@quo te- un 


John A, Rocco Board/Personnel Chair 

Executive Director, DATV 
280 Leo St., Dayton, OH 45404-2827 
Voice: 937.223.5311 / Fax: 937.223.2345 

Frank Clark 


801 Plum St., Room 28 

Cincinnati. OH 45202 

Voice: 513.352.5307 / Fax: 513.352.5347 


Paul D. Berg 

Newton Communications Access Center 

PO Box 610192. 

Newton, MA 02161-0192 

Voice: 617.965.7200 / Fax: 617.965.5677 

Email: paul.b erg@ wo rl 

Serena Mann 

General Manager 

Tawes Fine Arts Bldg. 

University of Maryland 

College Park, MD 20742 

Voice: 301.405.3610 / Fax: 301.405.0496 


Karen Toering 

Executive Director 
SCAN-Seattle Cable Access Network 
1125 N. 98th St. 
Seattle, WA 98 103 

Voice: 206.522.4758 / Fax: 206.528.8049 


Station Manager 

Hillsborough Television 

County Center-28, PO Box 1110 

Tampa, FL 33601-1110 

Voice: 813.276.2681 / Fax: 813.276.2691 



Carl Burton 

760 Estates Dr. 

Sacramento, CA 95864 

Voice: 916.482.6175 / Fax: 916.482.5741 

James Horwood Legal Affairs Appointee 

Attorney-at-Law, Spiegel & McDiarmid 
1350 New York Ave, NW, Suite 1 100 
Washington, DC 20005-4798 
Voice: 202.879.4002 / Fax: 202.393.2866 

Richard Turner Equal Opportunity Chair 

47-746-4 Hui Kelu Street 
Kane'ohe, HI 96744 

Voice: 808. 265.5373 / Fax: 808. 239.5962 

Miguel Ortega Appointee 

Access Tucson 
124 East Broadway 
Tucson, AZ 85701 

Voice: 520.624.9833 / Fax: 520.792.2565 

'Talk Amongst Yourselves,.,' 

Information, resources, networking 
and national office announcements 
are available day or night. The Alliance 
hosts two listservs to help you: 

The Access Forum list is open lo anyone inter- 
ested in community access. To sign-up, inter- 
ested persons should send a message to: 

The Alliance Announce list is open only to 
members of the Alliance for Community Media. 
Members should send a request to: alliance- 

aiinounce-subscribe@ lists.alliancecm. org. 
Membership confirmation will be sent back to 
the interested parly. Once returned, it is sent to 
the national office to confirm membership. 
Once confirmed, the member will 
be added to the list. 


666 11th St. NW, Suite 740 
Washington, DC 20001-4542 
Telephone 202.393.2650 voice 

202.393.2653 fax 

Federal Communications Commission 

The Portals 
445 12th St. SW Washington, DC 20024 
202.418.0200 voice / 202.418.2812 fax 

Your Federal Legislators 

The Honorable 

United States Senate 
Washington, DC 20515 

The Honorable 

United States Flouse of Representatives 
Washington, DC 20510 
or call 202.224.3121 
on the web at 

Alliance Truly a Grassroots Organization 


...the Alliance is tmly a grassroots 
organization. It was created by people 
working in the field, not in the lofty 
ivory tower of idealism, but created 
with the practical knowledge that the 
only way for this group to have a 
national organization was for it to 
grow itself from the ground up. 

by Ric Hayes 

The 25th anniversary conference has 
come and gone. We have all had time for a 
refreshing break and then picked up the 
work we left behind. Most likely the con- 
ference glow has faded and the day-to-day ; 
woi'kload has once again taken on a life of 
its own. 

As I often do, soon after the confer- 
ence, I wrote a list of impressions and 
ideas that result in set of lists of "things to 
do" and "things that could be improved on 
next time." As 1 was reflecting on this con- j 
ference and others 1 have attended over 
the past twenty years, 1 noted that a major 
challenge for die Alliance is that this 
annual event serves so many purposes for 
the access movement. 

Foremost is die training aspect. We 
expect to hear the latest trends and learn 
tips to improve our community service. 
One expressive way to see the diversity of 
interests of Alliance members is the fact 
that the conference was organized into 
seven different tracks offering over fifty 
different workshops. 

There are also the leadership awards 
and the Hometown ceremony, a chance to 
applaud our fellow members for their 
hard work and maybe take a pat on the 
back for the work of our community pro- 

One feature whose success has varied 
with the venue is the vendor trade show. 
This year was one of the best in my mem- 
ory, with over forty-two vendors ready to 
talk with the access community about 
their equipment needs. 

There is also the opportunity to visit 
another place on this wondrous planet 
and enjoy its ambience, whether it's by 
sightseeing or partaking of the local 
atmosphere. And since we were at 
Washington, DC, we took advantage of 
that with a rally on the steps of the Capitol 
and visits with the representatives from 
our own districts. 

Perhaps best of all is the chance to 
come face to face with those we have got- 
ten to know from their postings on the 
list-serv, or our friends whom we may 
only see once a year. 

And, at the bottom of the list or off the 
list for some, is the annual members 

meeting. Those of us who have worked in 
Alliance leadership positions at the chap- 
ter, regional or national level consider that 
part of the conference to be high on the 
priority list. We want to gain the participa- 
tion of more members to ensure that the 
work we do is meeting their needs. 

The reason this is so important is that 
the Alliance is truly a grassroots organiza- 
tion. It was created by people working in 
the field, not in the lofty ivory tower of 
idealism, but created with the practical 
knowledge that the only way for this 
group to have a national organization was 
for it to grow itself from the ground up. We 
needed a national expression of our mis- 
sion if this organization was to reach its 

The form, of governance we have is a 
representative one. The bylaws changes of 
1997 opened the doors wider by enabling 
the entire membership to vote on election 
of national board members and any other 
proposed action via the paper ballot. But 
most of us rely on our elected representa- 
tives to speak for the perspective of our 
region, or access center. 

But one piece of work that was intro- 
duced at the national members meeting 
needs everyone's attention, the affiliation 
agreement. This seemingly arcane piece of 
legislation will clarify the relationship 
between national and region and chapter. 
It is intended to tighten the reporting 
mechanism from the region to the nation- 
al so we can complete the annual reports 
to the IRS. It is not intended to change the 
balance of power in the organization. 

We have never been an institution that 
blindly followed the direction of the 
national office, and there is no intent to 

change that. Instead we need to find ways 
to increase the level of activity at the 
chapter and the region level so we can 
improve our service to ail those interested 
in use of media for community building 

In many ways the regional or state 
chapter is the ideal place for increased 
activity. That is why the national board is 
asking you to discuss the affiliation agree- 
ment at your regional and chapter confer- 

As you discuss the proposed agree- 
ment I hope that your conversations will 
go further. The agreement deals mostly 
with the administrative aspects of regions 
and chapters but we need to review and 
find new ways to stimulate the diversity 
I within. Currently we have special interest 
groups (SIGs) and caucuses, but they are 
not linked to the structure of the organiza- 
tion as powerfully as they could be. It is 
time to strengthen this organization by 
entwining our diversity into the daily 
functions of the Alliance. 

Like many other long-time Alliance 
members I am always amazed at the 
resilience and determination of the Access 
community. We have survived many chal- 
lenges and grown in many ways. 

Creating the means to continue to 
expand that growth and increase the 
reach of the Alliance will help everyone 
interested in harnessing technology to 
serve human needs. 

Ric Hayes is chairman of the Alliance for 
Community Media and executive director of 
Community Access Partners of San 
Buenaventura, CA. Contact him at 


Season III of RIF Exchange Premieres on October 10, 2001! 

/Available to you.. .FREE of charge 

RIF Exchange is a LIVE, one-hour magazine style program that provides an in-depth examination 

of issues related to literacy and literacy education. 


Show 301: Best of RIF Exchange Season II 


Show 302: Community and Literacy 


Show 303: Literacy and the Arts 


October 10, 2001 
October 15, 2001 

November 7, 2001 
November 12, 2001 

December 12, 2001 
December 17, 2001 

6:30-7:30 p.m. ET 
12:00-1:00 p.m. ET 

6:30-7:30 p.m. ET 
12:00-1:00 p.m. ET 

6:30-7:30 p.m. ET 
12:00-1:00 p.m. ET 

More shows to come January 2002... stay tuned! 

Ten RIF Exchange programs were produced in Seasons I and II 
and are available on videotape 

Reading is Fundamental, Inc. For more information, please contact RIFNet at (800) 590-0041 or visit us at 

Our hearts are in pain, 
but our spirits are not broken. 

jphe midst of developing this issue of Community Media Review, the national tragedy of 
peptember 11th occurred. Families, friends, and neighbors throughout the country turned 
to the internet, and to their TV sets and radios, seeking information. And Access centers 
around the country responded— by reaching out to their communities through a variety of 
Activities, such as forums designed to talk about the events of that week, and programming 
on topics such as violence in communities, cultural diversities, and emergency preparedness. 

We commend you all for your step forward in this tragic, confusing time and dedicate this issue to 
you. Your efforts underscore the theme presented in this issue— that "the future of community media is 
in very good hands." 

We developed this theme in recognition of the ever-developing strength of the Alliance, which was 
so aptly demonstrated at this year's national conference, and the strength of youth media programs 
across the United States. 

In this issue: Lin Gold describes Dallas Community Television's 
youth program curriculum that combines critical analysis of both 
mainstream and alternative media, with hands-on production of 
skill-building projects. Jeanesa Ramos extols the accomplishments 
of the Youth Channel, a channel entirely run and governed by youth. 
Paula Kowalczyk profiles Street-Level Youth Media's efforts to pro- 
mote Chicago's inner- city youths' self-expression, communication 
and social change. Marshall Parker offers his take on the elements of 
a successful youth program, with snapshots of two award-winning 
Houston MediaSource's producers penned by Pat Garlinghouse. 
Susan Lawrence's article offers an overview of Maiden Access 
Television's agenda for guiding teens in the development of leader- 
ship skills through video production. Jeff Smith reflects on two Grand Rapids Institute for Information 
Democracy (GRIID] youth projects conducted the past year through the Community Media Center. 
Ginny Berkowitz re-caps Cambridge Community Television's eleven year involvement in youth pro- 
gramming, with a close look at CCTV's Summer Media Institute composed by Natasha Friedus. And 
Bill Nay and Daria Nay reveal a personal account on planning and participating in the Alliance's Youth 
Media Camp. A resource list of youth producer festivals follows. 

Also in this issue are reports and pictures from this year's conference in Washington, DC, including 
the keynote address by former FCC Commissioner Gloria Tristani. 

Our thanks to everyone who helped develop this issue. 

— Betty Francis and Jennifer Krebs, Co-Editors-in-Chief 

„ Youths 


The Future Is in 
Very Good Hands 

Betty Francis has been involved in educational access for the last fifteen years as a writer, producer, and 
station manager. In her current role as an IT planning analyst for Montgomery College, she assists in the 
development of joint initiatives for Maryland's Montgomery County PEG Network, She served on the Alliance's 
Planning Committee for the Youth Media Camp at the 2001 Conference. She can be reached at 240.314.3141 or md. us. 

Jennifer Krebs was government access coordinator for the City ofEnumclaw and acting director of 
Puget Sound Access, both in Washington State. She is currently a first year law student at the 
University ofWashington. 





• CHANNEL SCHEDULING with interface to tiltrac automated video systems 

Learn more at! 

M Appointment Book: Open 8:00 AH la 8:00 PM 

Start Date/Time *■] ~»j 

H,: , 20,'2fiiJU. 8 00 AM Wednesday] j-j 

Updated-.- 8/3D/2000 12:03 pmjgj 
Edit! VHS H 

Select Appointment Book Page 

Edit Suites jj 

Legend: [ None Reserved 
Edit 2 


30 " SO 


Edit 3 Hit 

9/20 8:00 a 
9/20 8:30 a 
9/20 3:00 a 
9/20 9:30 a 
9/20 10:00 a 
9/20 10:30 a 
9/20 1 1:00 a 
9/20 11:30 a 
9/20 12:00 p 
9/20 12:30 p 
9/20 1:00 p 
9/20 1 30 p 
9/20 2:00 p 
9/20 2:30 p 
9/20 3:00 p 
9/20 3:30 p 
9/20 4:00 p 
9/20 4:30 p 
3/20 5:00 p 
9/20 5:30 p 
9/20 6:00 p 
9/20 6:30 p 
9/20 7:00 p 
9/20 7:30 p 

Burstein, Dan 

Burster, Dan 

Buistein. Li an 

Burstein, Dan 

Burstein, Dan Dan 

Forrest. Tiger 

Forrest. Tiger 

Forrest. Tiger 

Forrest. Tiger 
Forrest. Tiger 

Montague. Mickey , 

Montague. Mickey , 

Montague, Mickey , J 



Thatcher. Becky 

Thatcher, Becky 

Thatcher. E -:c,y 

Thatcher. Becky 

Thatcher, Becky 

Elellewelber, Michell 

Elelle-jvelher, Michell 

New Reservation 

crd 145 


Anthony, Susan E 

t. Appointment Rn..k ripen R 00 AM lr< S 11(1 PM 

Stall Date/Time _+J 

. 3/20/2000, 8:00 AM (Wednesday 

. Updated:.. 8/30/: 

000 12 
Edit! ■ 


9/20 8:00 a 
9/20 B:30 a 
9/20 9:00 a 
3/20 9:30 a 
9/20 1 0:00 a 
9/20 10:30 a 
9/20 11:00 a 
9/20 11:30 a 
9/20 12:00 p 
9/20 12:30 p 
9/20 1:00 p 
9/20 1:30 p 
3/20 2:00 p 
9/20 2 30 p 
9/20 3:00 p 
9/20 3:30 p 
9/20 4 00 p 
9/20 4.30 p 
9/20 5:00 p 
9/20 1>.3U p 
9/20 S:00 p 
9/20 G:30p 
q/?n 7 nn n 


uistein, Dan 

Burstein, Dan 

Burstein, Dan 

Euistem, Dan 

Forrest, Tiger 

Forrest, Tiger 
Forrest, figer 

Forrest, Tiger 

Forrest, Tiger 

Select Appointment Book Page 

i Edit Suites 


Edit 2 VI 


r 10 r 

Hew Resesyatian 


Fic--oived All Re 


i hi: 





VliCkt?] r .. 



Kitk, James T. 

Kiik, .lames T. 

Kirk, James T. 

K.irk, James T. 

Krrk, James T. 


• hatches Becky 

ThatcheL Becky 

Thatehei, Becky 

Thatcher, Becky 

Thatcher. Becky 

Thatcher, Becky 

Thatcher. Becky 


Turner, Torn , Jr. 

Turner, Torn , Jr. 

Turner, Tom , Jt. 

jj Camcid T450 j-J 

Turner. Tern .Jr. 

Turner.Tom .Jr. 

BeHewethet, Michell 

Bellei-vether. Michel! 

Bellewether. Michell 

Bellewether, Michell 

ellewether, Michell 

Bellewether, Michell 

Beliewether. Michell 

Bellev-'ether, Michell 

3ele,"ether. Michell 


Anthony. Susan B. 

Anthony, Susan B. 

Anthony", Susan B. 

Anthony, Susan B. 

Anthony, Susan B. 

Anthony. Susan B. 

Anthony. Susan B. 

Anthony, Susan B. 

Facil is software designed just for media access centers, 
addressing their wide range of needs from contact infor- 
mation to equipment inventory, from equipment and facili- 
ty reservations to project budgeting and reporting, from 
program library to channel scheduling. Highly automated 
and fully integrated, this program makes all the information 
available throughout your organization to every staff mem- 
ber in real time. 

After more than ten years of development and incorporat- 
ing the input of PEG access centers across the country, 
Facil has evolved into the most comprehensive and effec- 
tive solution to the exceptional data management require- 
ments of a media access center. The new Windows 
based version of Facil is already serving organizations 
from coast to coast, recovering the staff time previously 
lost to paperwork and improving service levels. 

For more information: 
Access Tucson 
124 E. Broadway 
Tucson, AZ 85701 

Youth in Media 

It Begins with Media Literacy at Dallas Community Television 

'Media Literacy is the ability to 
access, analyze, evaluate and pro- 
duce media in a variety of forms.' 

- TheAspm Institute. Leadership Forum, 
on Media Literacy, December 1992. 

by Lin Gold 

/ edia permeates every aspect of 
our lives. Ii affects decisions 
t^.y r'-Z*- about what we eat, how we 
dress, how we vote. Individuals who are 
media literate understand the impact of 
visual and auditory messages. They are 
better prepared to intelligently analyze 
and evaluate information, rather than 
simply accept any form of media as fact. 
In an information age, a media literate 
populace forms the basis of a democrat- 
ic society. 

Young people now have more media 
making resources than ever, but they 
don't always know how to use those 
resources well, and very few youth have 
any experience with critical analysis of 
media. Dallas Community Television, 
Inc. (DCTV) has long recognized how 
the grassroots nature of community 
access, coupled with the concept of 
access to the media as a First 
Amendment right, is a natural compan- 
ion to media literacy. 

DCTV began offering limited hands- 
on media production training for youth 
in 1990. Since that time, DCTV has 
implemented a curriculum that com- 
bines critical analysis of both main- 
stream and alternative media, with 
hands-on production of a series of short 
skill-building media projects. This com- 
bination gets students thinking about 
media in a new way. It gives them the 
analytical skills to determine what they 
like about a particular television show or 
film, encourages them to think about 
how they might use those same tech- 
niques in their own w r ork, and gives 

them the practical pro- 
duction tools to 
express their ideas. 


Mobile Community Classroom 
(grades 3-12) 

In 1993, DCTV designed the award- 
winning Mobile Community Classroom 
(MCQ, a mobile production studio, field 
production equipment and a full-time 
staff position dedicated to media educa- 
tion outreach. While teachers may bring 
their students to DCTV's studios for 
training, DCTV makes onsite media lit- 
eracy training available to students and 

teachers through residen- 
cies of varied lengths through the MCC 
program. Staff members provide 
instruction in media analysis, studio 
production, portable video production 
and editing. The Mobile Community 
Classroom has touched the lives of 
thousands of children through schools, 
community organizations, arts festivals 
and in-house workshops. Programs 

...the grassroots nature of community access, coupled with 
the concept of access to the media as a First Amendment right, 
is a natural companion to media literacy. 


Profiles in Youth Media 


hris TonickJS, is a freshman at 
college. He is studying film. He 
joined DCTV's Explorer Post 

1253 when he was sixteen years old, 
and has been president of the post for 
the last year. This summer he was 
hired as an intern for the Summer 
Video Camp program. 

How has learning media analysis 
affected him? "I view media different- 
ly now. I think about the processes 
that go into it. You can tell by the way 
a director lights a scene what it is 
they're trying to say. 1 have a rich and 
deep viewing experience because I 
realize that it's not just to be taken at 
surface value. When 1 sit in my media 

analysis class (in college), I think, hey I already know this stuff." 

What has he learned about production? "Everything. When I first 
started at DCTV I had no idea how to light a scene or use professional 
cameras. All I had was a home video camera. It was great to learn how to 
edit and shoot. Invaluable stuff - 1 don't know where else I would have 
picked it up." 


ana Archip has participated 
J§ j in Explorer Post 1253 for the 
last two years. She is a senior 
at Arlington High School and plans to 
become a professional animator. 
Dana was also an intern for DCTV's 
Summer Video Camp program this 

What's her take on the impact of 
studying media analysis? "I definitely 
think it's had an impact on how I view 
media. It makes me think about what 
I'm watching, and before I just 
watched. Now I watch very critically. I 
notice all the lights, the cuts and 
especially the improper breaks in a 

Dana tried her hand at producing short films with her younger broth- 
er Jason, before coming to DCTV. He is a real technical whiz kid, so Dana 
always focused on the creative aspect and let Jason take care of the tech- 
nical side. "I learned so much about production, seriously. Before I did 
Summer Video Camp and the Explorer Post 1 didn't know how to wrap 
cable or even plug a microphone into a camera. I may not be the best, 
but I know the basics. It's amazing, after repeating it over and over, 1 actu- 
ally know what I'm doing." 

produced by DCTV's students have won top 
honors in the Dallas Video Festival and the 
USA Film Festival's Kids in the Director's 

Explorer Post 1253 (ages 14-21) 

Youth from across the region receive 
media literacy training and production experi- 
ence by joining Explorer Post 1253. The 
Explorers meet for training sessions and par- 
ticipate as crew members for community tele- 
vision programs. Each spring, Explorers run 
the Animation Station booth at the Kennedy 
Center Imagination Celebration, teaching ages 
four to adult simple stop-motion claymation. 
This program is presented in conjunction with 
The Boy Scouts of America, Circle Ten 

Young Producers' Group (ages 9-13) 

The Young Producers' Group (YPG) is for 
youth interested in media production. The 
YPG provides media literacy training and pro- 
duction experience and has proved to be an 
excellent way for home-schoolers to partici- 
pate in DCTV's programs. 

Girl Scout Video Production Badges 

This is a special one-day workshop for Girl 
Scouts to earn a badge in video production. 
Participants work together to script and shoot 
a multiple camera production in DCTV's 
Studio B. 

Summer Video Camp 
(June-August, ages 9-16) 

Youth in this program learn the ins and 
outs of video production through one-week 
day camps. There is a strong emphasis on 
media analysis. By the end of camp, youth in 
this program are able to script, produce, direct 
and perform their own community television 
program for cablecast on DCTV channels. 

DCTV offers select students interested in 
media production as a career internships in 
Summer Video Camp and at DCTV's 
Roundtable Studios. 

Dallas Community Television encourages 
all Dallas citizens to become involved. There 
are so many aspects for the community, the 
young and the not so young, to explore. If 
you're interested in learning more about 
DCTV: you can call us at 214.631.5571 or write 
to us at Dallas Community Television, 1253 
Round Table, Dallas, TX 75247. 

Lin Gold is the media education program 
director at Dallas Community Television. She can 
be reached 

Youth Channel Changing Forever the 
Way Media Is Viewed in Manhattan 

by Jeanesa Ramos 

he Youth Channel, a channel entire- 
ly run and governed by youth, is 

v --r changing the way media is viewed 


Through the financial support of the 
Open Society institute (QSI), the Manhattan 
Neighborhood Network (MNN'J developed 
the Youth Channel to provide equal access 
to all young people, empower youth to 
believe they are capable of creating change 
within their communities and the world, 
and better serve their youth demographic. 

Before that time, there was no outlet in 
the Manhattan area for youth to show their 
work and have others recognize their talent. 
MNN recognized the need for a distribution 
vehicle for youth-produced work. They also realized that 
the channel not only needed to exclusively air youth work, 
but also needed to empower youth as the primary decision 

Anthony Riddle, MNN's executive director, has seen the 
channel grow in the past year and is delighted with the 
results. "It's great to see youth empowered to make their 
own decisions," says Riddle of the channel's precedent-set- 
ting governance structure. 

Kone Mamadou, a youth producer, acknowledges the 
strength of media and is grateful for the opportunities the Youth 
Channel provides, "I'm giad that there's a place like the Youth 
Channel, where I can be free to express myself, where there are 
no barriers." 

The Youth Channel (YC) strives to encourage its members to 
have a social-political conscience by engaging them in activities 
that pique their curiosity about current events and culture. They 
create newscasts, documentaries, movies, and other forms of 
media. Internet technology has allowed youth -produced media 
to advance rapidly. 

Through the internet, youth are able to show their work 
online through webcasting, emailing, downloading, etc. The 
Youth Channel recognized the power of this medium, and 
launched the website, which now features sev- 
eral short videos, and a 24-hour live stream where viewers can 
watch the Youth Channel online from anywhere in the world, it 
also features a community calendar, Youth Channel news, links 
to media resources and organizations, and the YC television 

Through this video streaming technology, youth have gained 
increased exposure and recognition by enabling viewers from all 
over the world to observe their work. 

Recently, YC has initiated two exciting ventures: the National 
Youth Media Access Project and the Durban Diaries: Youth Fight 
Racism project. 

Clockwise from above, 
students in a Youth Channel 
production workshop; Project 
Director Hye-Jung Park; 
Board Member Alexia Myers; 
Outreach Director Jeanesa 
Ramos; and Peer Trainer 
Kone Mamadou. 

The National Youth Media Access Project is a youth-based 
program network that was initiated in an effort to bring youth- 
produced media to the entire country. The Youth Channel has 
chosen four distinguished public access centers representing 
both the demographic and geographic diversity of the country, 
each committed to strengthening local support for the youth 
perspective in their communities, to commence the project, 
which was funded by a grant from OST. The Youth Channel hopes 
to continually enlarge the network to afford media access to all 

YC's latest project, Durban Diaries: Youth Fight Racism, takes 
Youth Channel producers to Durban, South Africa. YC plans to 
attend the World Conference Against Racism and to participate 
in the conference in a unique and refreshing way — through 
incorporating video and Internet technologies to bring viewers 
daily video and youth diary passages that describe the confer- 
ence, their individual experiences, and their feelings about 
racism. Viewers can track the conference delegates' journey 
through the youthchannel.orgwebstte. 

The Youth Channel has initiated partnerships with several 
organizations like Malcolm X Grassroots Movement, Global Kids, 
and several other national and international organizations for 
our Durban Diaries: Youth Fight Racism. We expect this confer- 
ence to have a lasting, life-altering effect on us all. 

Jeanesa Ramos is a freelance writer and the outreach coordinator 
for the Youth Channel She can be reached 


Chicago's Street-Level Youth Media 

What if young people had access to video cameras to document the world as they saw it? 

by Paula Kowalczyk 

or years, in cities all over 
America, people with good inten- 
.. . - ' tions have tried to solve the many 
problems that plague low-income com- 
munities — violence, anger, greed, neg- 
lect. Often times, the problems loom 
large and the real building blocks — 
ideas, dreams, and opportunities— are 
ignored or forgotten. As artists who cared 
deeply for the youth in the city of 
Chicago, we wanted to create a place that 
was different, a place where ideas lead to 
actions and actions create change. 
Street-Level is that place. 

Our mission statement is our source 
for inspiration: 

Street-Level Youth Media educates 
Chicago's inner-city youth in media arts 
and emerging technologies for use in 
self-expression, communication and 
social change. Street-Level's programs 
build self-esteem and critical thinking 
skills for urban youth who have been his- 
torically neglected by policy makers and 

I do like coming to Street-Level because 
the environment is fun. Also, it's a good 
place to meet different people. My favorite 
thing to do here at Street-Level is working 
in Photoshop because it's a good technique 
to learn. 

- Jose Moran, 18 

mass media. Using video production, 
computer art and the Internet, Street- 
Level's young people address community 
issues, access advanced communication 
technology and gain inclusion in our 
information -based society. 

In 200 1, more than eighteen hundred 
youth in neighborhoods across Chicago 
will participate in Street-Level's many 

Everything that Street-Level is today 
started from a simple idea. What if young 
people had access to video cameras to 
document the world as they saw it? What 
stories would they tell? What could they 
teach us? Teens from Chicago's Wells 
I Ugh School took the idea and ran with 
it. That first summer, they made forty 
videos about everything from gangs, to 
their families, to the gradual gentrifica- 
tion of their neighborhood. They threw a 
giant community block party and 
installed their video projects on seventy 
monitors up and down the street. This 
first Street-Level Block Party drew 
national attention and inspired an entire 
community to celebrate (he talents and 
dreams of their youngest residents. 

With the success of this first effort, a 
new idea arose. What if there was a place 
in the neighborhood where Street-Level 
students could teach other kids how to 
make videos? What if there was a safe 
place to come in off the street and actu- 
ally do something about the problems. 
That place was the first Street-Level 
stotefront. Located across the street from 
Wells High School and on a corner where 
four gang lines converge, the storefront 
became known throughout the city as 
"that video place run by kids." 

In fact, Street-Level's first pilot 
program, Neutral Ground, demon 
strated how media could trans- 
form a community. Using video 
cameras to create a series of video 
letters, rival gangs who had never 
spoken face-to-face developed a 
dialogue about identity. Through 
video, they taught each other how 
to communicate and for at least a 
short while, a truce was brokered 
between the opposing factions. In 
the process, it taught the commu- 
nity to see these youth as real human 
beings trapped in a desperate, life- 
threatening position. 

Sn time, more ideas emerged. What if 

My favorite thing to do at Street-Level is to 
go to Girls' Group because you get to do 
lots of activities, make movies with the 
camera, make up stories, and talk to each 

- Gloria Cerda, 8 

we started defining media in a broader 
sense? How could today's new technolo- 
gies be used to tell stories? With just one 
outdated Apple computer, Street-Level 
members began building web pages 
about themselves and their community. 
Without realizing it, Street-Level became 
one of the first organizations in the 
country to offer new technology access 
to urban kids, free of charge. This idea 
caught on in a big way and before long, 
the storefront had a lab of computers 
intended for new forms of story telling. 
Graphic art, audio manipulation, digital 
video and the Internet were new fron- 

I first heard about SLYM from the '99 Block 
Party. I started coming to SLYM two years 
ago. My favorite thing to do here is chatting 

-Lynda Podoiyanyuk, 17 

I first heard about SLYM from a local cross- 
ing guard. I started coming last December 
2000. My favorite thing to do is go on the 
Internet to chat and play games. 

- Jonathan Torres, 16 

tiers for community advocacy and inter- 
active learning. 

Street- Level's founders were then 
faced with a new challenge. How could 
the agency ensure that its mission had a 
broader, lasting impact? How could 
Street-Level be used as a model not only 
for how to reinvent media, but to rede- 
fine what it means to be a community- 
based arts organization? In 1995, Street- 
Level incorporated as a not-for-profit 
corporation with diversity at the core of 
its foundation. The organization assem- 
bled a talented group of staff, board and 
volunteers members representing many 
backgrounds, cultures and perspectives, 
drawing from the community, corporate 
and artistic worlds. Street-Level staff, 
both program and administrative, has 
always consisted of professionally 
trained artists whose diversity reflects 
the city's cultural and immigrant 
populations. Street-Level 
designed a management structure 
that would insure programmatic 
and fiscal accountability. Street- 
Level has no executive director. 
Instead, five co-directors super- 
vise various facets of the organi- 
zation under a shared manage- 
ment model. Each co- director 
brings a unique palette of experi- 
ences, contacts, skills and expo- 
sure that creates a continual dia- 
logue of new ideas. 

In addition, Street-Level has 
always been run using a sound business 
strategy. One third of its support is gen- 
erated from earned income for hard work 
and quality programs, requiring the 
development of collaborations that fur- 

ther expand the scope of the 
agency. Remaining support comes 
in the form of grants and in-kind 
donations from government agen- 
cies, foundations, corporations 
and individuals. Today, Street- 
Level develops drop-in programs 
at neighborhood multimedia labs 
that provide access to computers, 
the internet, video production and 
editing facilities. The organization 
seeks special projects that offer 
media making employment 
opportunities in collaboration 
with recognized cultural institutions 
throughout Chicago and beyond. The 
agency also partners with the Chicago 
Public Schools to create In-school pro- 
grams that model integrated arts cur- 
riculum working with classroom teach- 
ers to weave media into existing course 
work. Program participants are encour- 
aged to access the agency's website 
( to post their latest 
projects, express their ideas, and explore 
the media artwork of youth from outside 
of their communities. 

Most importantly, Street-Level has 
created an environment that includes 
youth in the process. It has developed 
staff positions for alumni participants 
and a series of teaching assistant posi- 
tions where younger youth can learn the 
ropes. On its own and by partnering with 
the city, the agency has been able to cre- 
ate job programs that pay out more than 
580,000 in youth salaries and stipends 
annually. Since 1999, in partnership with 
Columbia College Chicago's Office of 
Community Arts Partnership, Street- 

I was passing by Street-Level and saw a 
bunch of kids inside so I went in. I like com- 
ing to Street-Level because I can go on the 
Internet, learn Photoshop and go to the 
Boy's Group. 

- Adrian Torres, 11 

Level has been able to send youth to col- 
lege through an annual Columbia College 
Scholarship awarded to a program partic- 
ipant showing initiative and commitment 
to continued learning. To date, Street- 
Level has four Columbia College scholars. 
Despite the agency's unique business 

I first heard about Street-Level from going 
to its annual Block Party. I started coming 
to SLYM two years ago. My favorite thing to 
do here is to sit around and relax. 

- Kassia Cerda, 13 

model, it is still quite a challenge to find 
the resources to make its various pro- 
grams possible. Part of the difficulty lies 
in acquiring and maintaining the equip- 
ment that makes media arts making pos- 
sible. These days, it is relatively easy to 
get older computer equipment donated 
to the organization, but no one has ever 
stepped forward with an offer to upgrade 
Street-Level's original video equipment. 
Street-Level has been fortunate, up to 
this point, in being able to reinvest in its 
equipment needs that are essentia] to its 
efforts, and in bringing its work back full 
circle to its roots — give kids a camera and 
witness the stories they share. 

Paula Kowalczyk is the development 
director at Street Level Video. She can be 
reached at 

The youth quotes under the photographs 
were taken from interviews prepared by 
Street-Level Youth Media participants Edda 
Meza, age twenty and Gloria Cerda, age 
eight. Ms. Meza has been a Street-Level youth 
leader since 1999 and works with the 
agency's staff to facilitate its pre-teen and 
teen girls program. Most recently Ms. Meza 
has been awarded, in collaboration with 
Columbia College Chicago, Street- level's 
Annual College Scholarship and will begin 
school in the fall of 2001. 


Secrets of Success for Effective Youth Media 

Avoiding the Pitfalls to Bring All the Elements in the Equation Together 

Br Marshall Parker 

ouston is a city with great need for media literacy ciass- 
' es And as we have seen in many cities, limited budgets 
;: - • !. have restrained local schools from developing such pro- 
grams, or in some cases, have had to eliminate those begun. 

At Houston MediaSource (HMS) we have the beginnings of a 
very robust and fruitful youth program. And we've have had our 
share of shining success (as you'll see from Pat Garlinghouse's 
article on the following page about two of our bright rising stars) 
and disappointments. Based on these experiences, here's my take 
on what it takes to bring youth programs to fruition. 


Someone in the host organization must take the responsibili- 
ty to see that the simple logistics of arranging classes are met. It 
may seems like a small thing, but if there is no one there to 
unlock the door, see that the air conditioner is turned on or that 
there is even a room available, the possibilities of reaching goals 
are slim. 

In one program, there was a need for an adult to physically 
bring the students to the class. This program was an after-school 
project and the organization is one that requires an adult super- 
visor for all activities. There was a real problem in finding an 
adult who wanted to be involved with video production. There 
isn't always a video equivalent to the "soccer mom." 


The students have to want to. Sounds simple doesn't it? But 
we have found that in some circumstances there are students 
who have no idea why they are there. Why were they not asked? 

Media classes have to be fun. If the student isn't having fun, 
then they are bored and lack the desire to participate. This can be 
restrictive to other students as well. 

In the case of one organization that is dedicated to giving at- 
risk teens living in an inner city environment an alternative to 
gangs and criminal behavior, sports activities have been made 
the primary focus. When they realized that not all kids are good at 
sports, the light bulb went off that perhaps these young people 
should become videographers and videotape till of the sports 

But let me point out the fallacy of this logic. Simply because a 
person is not good at sports does not mean that drey are interest- 
ed in developing video production skills. There may be a possibil- 
ity there but some screening needs to be done so neither the stu- 
dent or instructor's time is wasted. 


There is a need for dedicated and talented instructors. 
Someone who is very good at video production is not necessarily 
good at teaching youth. There are some really good technical 
people who do not know how to communicate to young people. 

There is a special talent involved in retaining the interest of 
our Extreme X generation. This is a job for someone who knows 
how to deal with today's youth, including some that may have a 
different set of problems. Great understanding must be given to 

each child as to what they have to overcome to be successful. 
Unfortunately, there is a shortage of such instructors. 

Appropriate equipment must be available to teach the stu- 
dents. Many students have experience with camcorders. This 
type of equipment is abu ndant in the American homes of many 
income levels. Camcorders are quite portable and available in 
the ease of most access centers. 

The real dearth is in editing equipment. Certainly there is 
some teaching that can be done in production utilizing cam- 
corders only. The concept of "editing in the camera" has some 
value. But the real payoff is in a well-edited piece of which a stu- 
dent can be proud. 

The advent of an "editing system in a box" has made this part 
of the equation easier to some degree. Products by Applied 
Magic and Casablanca allow the portable video instructor more 
latitude. We have acquired two such units and have had great 
success. But the cost per unit is S2,000-$5,000. Add to it a moni- 
tor and a recording deck and you are talking about a sizeable 

Most of our partners cannot afford the cost or the space for 
editing equipment. This has been the case in our facility. While 
we are centrally located in Houston, the city is large and our 
space is limited. 


Many times the administrator of a partnership organization 
is not truly media literate and has no understanding of video 
production. They set their sights on unreasonable expectations 
for youth producers. We have tried to set goals initially for short 
form projects, such as public service announcements (PSAs). 
Putting together a tight 30-second program requires many of the 
elements of longer form projects but are within the reach of extra 
auricular youth students. Youth production of PSAs is where we 
have the most success. 


Ah! The commodity of which no one seems to have enough. 
We have seen some prospective partners who want to have a 
youth program for video production once or twice per month. I 
think that you can see the error In their thinking. There is no 
time to develop continuity with this type of schedule. 


So how do you to make the equation work? Taken from the 
viewpoint of possible pitfalls, I see the equation as this: 

Interested students + Dedicated program administration + 
Talented instructors + Adequate time and equipment + Realistic 
Goals - Successful Youth Producers. 

The underlying theme is that good communication is impor- 
tant. You must educate your partners and develop an agreement 
that creates room for everyone to succeed. 

Marshall Parker is program development director at Houston 
MediaSource. Contact him at 

Youth Program a Success 
at Houston MediaSource 

by Pat Garlinghouse 

"The frustration of being trapped in 
infancy. Lying flat on my back, all I could 
see was the ceiling. Agitated, restless, and 
completely unable to utter a single word, I 
wanted more than anything to have a pil- 
low beneath my head. A simple pillow, 
which I just knew was in the next room, 
would put my uneasy mind to rest. I cried 
and was coddled back to sleep only to 
awake again to find nothing under my 
head. All my mother heard was unfocused 
noise bellowing from her sleepless child, 
but I knew what I meant. All I needed was 
the language to tell her. This is my earliest 
memory from childhood, and in many 
ways I am still the same child." 

bus begins the long successful 
career of Justin Simien, one of 
Houston MediaSource's youth 
producers. As he deals with all of his frus- 
l childhood 
the 'clout' 
to make 
\ stood, 
dreams that would 
amaze even Stanley Kubrick or Tim 
Burton. Of his expectations from 
Chapman University, CA (where he now 
lives as a film directing freshman stu- 
dent) Justin says with gusto, "1 want my 
eyes to be opened again through the peo- 
ple around me and the art 1 experience. I 
want to understand the fundamentals, 
from storyboarding to editing; I want to 
learn it all." 

Justin is a 2001 graduate of the 
Houston High School for the Performing 
and Visual Arts' (HSPVA) Theatre pro- 
gram and packs in performances of 
approximately nine plays from 
Shakespeare to Andrew Lloyd-Webber. 
Justin directed two productions, includ- 

ing When the Spirits Gather, a piece he 
adapted to the stage. He has directed 
dozens of commercial ads for his school's 
theatre department and yearbook staff. 
Just prior to graduation, Justin picked up 
two gold medals for his film, The Gift, 
from both the local and national NAACP 
ACT-SO competition. Justin is majoring 
in film directing at Chapman University, 
CA this fall. 

Allison Smith, also a student intern, 
is a senior tech- 
nical theater 
major at HSPVA 
this year. 
Although she is 
very successful 
in theater as , 
an actress, as 
well as in 
theater, her 
true love is 

film. She plans to major 
in film production in college. Winning 
the PBS American High Contest for video 
really gave her film career a jumpstart. 
Allison is busy working on two major 
projects. She is producing a public serv- 
ice announcement, plus an informational 
video for LIFE Houston, an organization 
that helps needy babies, for her Girl 
Scout Gold Award, and she is working on 
her ten-minute video for submission to 
the nalionaiA.R.T.S. competition for high 
school students, in her spare time, 
Allison works at Houston MediaSource, 
the public access channel in Houston. 
Allison "feels blessed to have access to 
such great equipment and to work with 
people who have so much knowledge 
about media." 

Pat Garlinghouse is executive director of 
Houston MediaSource. She can be reached at 
pa tg@houston-mediaso urce. org. 

Youth Produce 
PSAs at HMS 

s president of the film club at 
HSPVA, Justin and his gang 
won an award for 'Best PSA' from 
My Varsity Television for Got Smoke, 
produced at Houston MediaSource. 
HMS receives funding for youth 
produced PSAs from Manhattan- 
based Listen Up!, a national net- 
work of over sixty youth media 
organizations helping youth use 
media to articulate their ideas and 
experiences in their own voices. 

Austin Haeberle, the group's 
director, is "proud to congratulate 
the youth producers from Houston 
MediaSource. Got Smoke is an 
example of a PSA that uses wit and 
creativity to deal with an important 
subject. It is a strong contribution 
to Listen Upl's mission to support 
youth voices in the mass media, 
contributing to a culture of free 
speech and social responsibility." 

inspired by the youth leaders at 
HSPVA, other summer students pro- 
duced PSAs about child abuse, not 
drinking and driving, graffiti, adopt- 
a-pet, helping the homeless, not 
walking home alone, stopping the 
violence, and stopping smoking. 
Listen Up! distributed Thirteen 
youth-produced PSAs from HMS 
This year. 

The future of video is in very 
good hands. 

Editor's no te: Listen Up! was fea- 
tured in the Spring 2001 issue of 
Community Media Review [Access & 
Media Education]. For more informa- 
tion about the organization, visit their 
website at 


This Is Not My Life! 

Youth Media Projects in Grand Rapids, Michigan Tackle Media Bias 

by Jeff Smith 

you spend anytime listen- 
ing to politicians these days 
or watching television news 
you might be inclined to think 
that today's youth are more dan- 
gerous than ever. Author Mike 
Males, who has written several 
books on the public's perception 
of teens, says that adults have 
been demonizing the current gen- 
eration of youth like none before 
them. (Males' books include The 
Scapegoat Generation, Framing 
Youth, Smoked and Kids & Guns.) 

To counteract this bias, we 
have begun programs for youth at 
the Grand Rapids [MI] Community Media 
Center (CMC) that lets them speak for 
themselves through media. What follows 
are some reflections on two youth proj- 
ects that the CMC's Grand Rapids 
Institute for Information Democracy 
(GRIID) has conducted in the past year. 
That's not my body. 
Researchers have been reporting for 
years now that girls as young as six are 
engaged in dieting because they think 
they are too fat (see Deadly Persuasion: 
Why Women and Girls Must Fight the 
Addictive Power of Advertising, by Jean 
Kilbourne, Free Press, 1999). While not 
the only factor, images of women and 
girls in commercial media have con- 
tributed significantly to girls/women's 
perception of what they should look like. 
Our project, the Young Women's Media 
Project, sought to change that perception 
by working with girls from sixth to eighth 
grade through a grant we received from 
the NOKOMIS Foundation. 

We developed a six-session project 
that would incorporate media literacy 
with TV production. The first session was 
devoted exclusively to looking and dis- 
cussing media representations of girls 
and women. We used TV shows, movies, 
magazine ads and video game examples 
that the girls could critique. The rest of 
the sessions were devoted to TV produc- 
tion, but media literacy was always 
woven into the technical training to re- 


Girls critique ads and gender representation with insights that 
would make Gloria Steinem proud. 

enforce the points made in the first ses- 

The girls quickly found out which 
ones wanted to run the cameras, audio 
and direct the production and who 
would be in front of the camera. They 
decided on a talk-show format named 
the Liviane Show, which came from half 
of each of the talk-show hosts Stephanie 
and Livy. The show was a straight forward 
discussion on magazine ads and female 
representation. The girls took turns hold- 
ing up ads and deconstructing them with 
tremendous confidence and clarity. The 
show was then aired on public access 
channel GRTV for a month. 

In the evaluations of the project we 
got great feedback. One question that 
was asked was "What did you like most 
about the project?" One girl responded "I 
liked being able to associate with other 
girls that have the same concerns." 
Another question we asked was "Do you 
think that you will look at the media dif- 
ferently?" One response was "Definitely. 
It makes me a lot madder now," 

Representing Ourselves. 

The other project that we have been 
coordinating with youth is the Media & 
Racial Representation Project. With this 
project the youth are high schuol stu- 
dents from the public school system, 
most of which have been involved in the 
Youth March for Justice. For ftvo years 
students have been organizing other stu- 

dents to confront racial injustice 
in their schools and communities. 
Throwing popular media into the 
mix seemed like a natural. 

So far, twelve students have 
gone through the project, which 
again includes a media literacy 
session and production classes. In 
the media literacy session we 
looked at both entertainment 
media and news racial representa- 
tion. The focus was primarily on 
local news since we have conduct- 
ed numerous studies over the past 
three years ( 
griidreports.shtmi) and had lots of 
video examples to use. In their 
evaluations, marry expressed the impor- 
tance of being able to "detect some of the 
very subtle ways that the news media 
perpetuates racism." 

The first group trained used the 
opportunity to produce a short video that 
was used at their county-wide Racism 
Summit held in May 2001. Two hundred 
fifty students and fifty adults viewed the 
video at the beginning of the Summit, 
which helped to set the tone. The video 
was a taking it to the streets approach 
where interviews were conducted with 
other youth on their perceptions and 
experiences with racism. The youth 
video, along with a number of skits they 
preformed, were taped and aired on 
GRTV later that month. 

As of this writing the second group of 
students has just been trained. Their 
project idea is to document the 
September 2001 Youth March for lustice 
to air on GRTV. They also will work with 
GRIID to document the commercial 
media coverage of the March and then 
try to respond creatively to the news cov- 
erage of the event. One participant sug- 
gested that we try to interview the news 
people who covered the event. Stay 

Jeff Smith is the GRIID affiliate director 
at the Community Media Center in, Grand 
Rapids, Michigan. He can he reached at 

Teens Put the Message into the Medium 
at Maiden's Cable Access TV Studio 

by Susan Lawrence 

sple oLd enough to remember Mickey Rooney and Judy 
jarland as teenage movie stars will also remember the 
magic of the phrase, "Hey, let's put on a show!" 
Today's teens are just as moved by the magic inherent in col- 
laborating and in performance. Many have a keen sense of the 
media's potential power to inform and convince — evidenced by 
the cable programs they produce that demonstrate a heartfelt 
response to social issues, and sometimes, a surprising combina- 
tion of citizenship, creative inspiration, and thoughtful use of 

In the past few years, increasing numbers of middle and high 
school students have been drawn to get involved with Maiden 
Access Television (MATV) on their own. They have joined us as 
task volunteers, production crew and interns, and some have 
begun to spin off youth-produced videos and shows. Agencies and 
grant-funded projects that serve youth in the city also find MATV. 

For a youth program whose agenda may include educating 
teens about smoking, violence, and other dangers — while guiding 
teens to develop cooperation and leadership skills — using a video 
project to tackle an issue serves multiple purposes. The middle 
school girls in a group at the Maiden YMCA called "Common 
Ground" had written a brochure on dating violence. "They wanted 
to get the message out there more, and they came up with the idea 
of doing something for MATY" says assistant program director 
Holly Beth Plowman. Because Plowman is a college film and com- 
munications major with an MATV membership and production 
experience, she was able to lead the girls in scripting a 10-minute 
dramatic presentation about how to recognize and prevent dating 

"The girls felt that having their message on television was 
important, because the media so often portray women, as sex 
objects," Plowman said. "Media images make men think they're 
more powerful than women, and diat's one reason dating violence 
can begin, even when kids are as young as thirteen." 

With research under their belts after writing the brochure, and 
some personal experiences with the issue, the Common Ground 
girls wrote a script and planned how they wanted the program to 
look. "They decided it would be best for each girl to speak her lines 
directly to the camera," said Plowman. "Dating violence is such a 
personal topic to talk about, we felt with someone talking about 
the information instead of acting it out as a drama, it would be 
easier for people to hear it." 

The girls recognized the public relations capabilities of local 
media. "We wanted to do a television program because they 
thought, if viewers would see a group of young teenagers talking 
about this topic, they might say, 'Wow ! Wheted drey learn all that 
information?' and reach out to the YMCA," Plowman said. 

For a television studio crew, Plowman and Program Director 
Sarah Howard enlisted the help of several MATV teen and adult 
volunteers. The Common Ground girls focused on learning their 
lines, learning how to deliver their lines in a natural speaking 
voice, and figuring out the blocking and camera angles. 

The television studio itself taught an additional lesson, as the 

girls realized which aspects of their pre-production plan, such as 
variously colored spotlights, were too complex to create in the 
short time available, In the edit room, Plowman crafted the studio 
footage together with appropriate contemporary music and title 
and credit graphics to enhance the piece's message. 

Were the girls pleased with the resulting video? "Yes, definite- 
ly, especially since they can actually see it on television, if they 
live in Maiden," said Plowman. "I am from here, and Common 
Ground is at the Maiden YMCA, so we did want to focus on this 
community. The message would be good to show in other towns, 
but we wanted to reach out to a small community first. The idea 
is, the fewer peo- 
ple are in a room, 
the more each one 
will feel your mes- 

Across the city 
at the Maiden 
YWCA, another 
video emerged 
from a group of 
older teens who 
receive stipends 
for tobacco pre- 

YWCA girls in a television studio class at MATV. 

vention outreach. Also an all-female group, the "Tobacco Girls" 
took a four-session class at MATV to learn studio production . 
While some learned camera, audio and lighting skills, others con- 
centrated on the content for their 60-second PSA — two original, 
choreographed raps against smoking, set to instrumental hip hop 
music that the girls found. "Community media provides an outlet 
for creativity that girls this age, in tbis community, might not find 
so readily accessible elsewhere," said Bernadette Smith, coordina- 
tor of teen services at the Maiden YWCA. "With this project, they 
have a chance to learn the skills that make them able to present 
information in a way they know will be accessible to other people 
their age." like Plowman, Smith brings video production experi- 
ence to her position, and she led the girls in editing the PSA. 

When teens produce a video that brings a socially positive 
message to their own community, they certainly provide a service. 
And without question, the teens personally gain: new? skills and 
knowledge, including a first-hand understanding of television is 
put together; a creative outlet; and, an opportunity to build col- 
laborative skills, leadership skills and self-confidence. "There's a 
moment when the girls finally see themselves on TV, you can feel 
how pulling together on this project is a source of pride and a 
confidence- builder for each of them," said Smith. "A PSA airing on 
local television, everyone in the community can point to that and 
be proud of w+iat the teenagers in this community can do." 

Susan Lawrence is a senior producer at Educational Access 
Maiden Access Television (MATV), Maiden, MA. To exchange ideas 
about how to inspire, train, fund and encourage teen prevention 
groups to make their own videos, please email 


Youth Program Evolves at 
CCTV in Cambridge, MA 

BY GlNNY Berkowitz 

outh programming at CCTV began eleven 
years ago with our first summer program for 
teens. The Summer Video Institute, which 
began as a camp, has evolved into a six-week paid 
work experience for twelve high school age youth 
each summer. Participants are trained and produce . 
programs that are cablecast during the school year. 
The program became known as the Summer Media 
Institute last year because of the dramatic changes in 
technology and expanded production venues that 
now include not only channels but the internet and 
video streaming. 

The Youth Media Empowerment Project was for- 
mally created in 1994 and included die summer pro- 
gram and a variety of in-school and after-school 
projects. In fall 1999, Cambridge Community 
Television, in partnership with the Cambridge Public 
Schools (CPS) and the Agasssz Neighborhood 
Council, received an Education Partnership Initiative 
grant from the Massachusetts Cultural Council. The 
grant funds a three-year media literacy and produc- 
tion program that will become part of the middle 
school curriculum in Cambridge. 

The Media Aits Education Program provides: 
media art and literacy classroom workshops for fifth 
and sixth grade students; training for five or six 
teachers and library media specialists in use of the 
media arts curriculum; after-school production pro- 
gram open to all seventh and eighth grade students; 
and an annual Media Fair showcasing student and 
faculty work. 

The teens were employed by the Mayor's 
Summer Youth Employment Program (MSYEP). In 
addition to the support of the MSYEP, the 
Massachusetts Cultural Council and the Cambridge 
Arts Council also supported this program. 

A fine crew trained and guided this group 
through the media making process. SMI Coordinator 
Natasha Freidus, a former CCTV intern and recent 
graduate of the Department of Urban Studies and 
Planning Masters Program at MIT, worked with a 
team of media instructors including: Dan Owusli, 
Cambridge Rindge and Latin High School Graphic 
Design Teacher Linda Kim, MIT Public Service 
Center Summer Fellow at CCTV; and Sbaun Clarke, 
CCTV's very own long time member, winner Of the 
CCTV 2000 Youth Intern of the Year award, and I rain 
er extraordinaire. 

Girmy Berkowitz is director of outreach and develop- 
mental Cambridge Community Television. She can be 
reached at ginny@cclvcumbrid$ 

Summer Media Institute 

Media Doesn't Always Mean Television 

by Natasha Freidus 

I Jten at CCTV in Cambridge, 
/ ,. Masschusetts, media doesn't 

always mean television. 
From clay to camcorders, from 
pipe cleaners to Premiere, in this 
year's Summer Media Institute, 
participants not only gained 
expertise in the areas of digital 
technology, they caught a glimpse 
of their own power as storytellers. 

This summer marked the 
eleventh year of the Summer 
Media Institute, a collaboration 
between Cambridge Community 
Television and the City of 
Cambridge Mayor's Summer Youth 
Employment Program. For four 
hours a day, five days a week, a 
dozen of Cambridge's youth gath- 
ered together to explore the power 
and potential of media. Through a 
combination of observing, cri- 
tiquing, and creating media, par- 
ticipants learned about the stages 
of video and website production 
ranging from storyboarding and 
planning to publicizing and plan- 
ning a screening. Participant Loren 
Lewis Peters says, "...T learned how 
to edit, how to organize my story 
and to storyboard, and I learned 
how to work together with other 
people." The program culminated 
with a public screening in August, 
where each participant presented 
his or her work to a crowd of over 
fifty people. The final products 
included digital art, photography, 
videos and multimedia websites, 
with each participant choosing the 
medium they saw as fitting to their 

Not only did the forms of 
media that the participants chose 
range broadly, the content of their 
pieces were as diverse as the kids 
themselves. For the first project, 
the participants worked in groups, 
creating short videos about a spe- 
cific aspect of Central Square, the 
urban hub of Cambridge. 

Continuing with the theme of 

community, the final project pro- 
vided each participant with the 
opportunity to explore a particular 
part of their community that was 
meaningful to them. Some themes 
were personal interests, such as 
folk music and Softball Others 
focused more on social commen- 
tary or family history, including a 
critique of smoking, and explo- 
rations of Haitian, Puerto Rican, 
and Irish backgrounds. Linda Kim, 
public service intern from MIT 
commented, "I was amazed to wit- 
ness a very personal, real part of 
each one of them come out in their 
digital stories. I also learned about 
how they think, talents and gifts 
they have, and how they feel about 
some of the things they see and 
live through." 

Where will these new skills take 
the participants of the Summer 
I Media Institute? Some, like Loren, 
have their next steps all planned. 
"I'm going to use my production 
skills to make my own music video 
when I become a celebrity." 
Yesenia Carrion intends to docu- 
ment the process of her becoming 
a lawyer, beginning at age fifteen. 
Others, like Athena Sasaki, explain 
that while they aren't sure, "I know 
I'm coming back." Regardless of 
where these beginning media- 
makers take their new skills, this 
summer proved that given the 
chance, some support, and a few 
laptops, the world of media pres- 
ents a means for all to strut their 

To view the work of the 
Summer Media Institute, or for 
more information, look at the SMI 
website at: http:llwwiv.cctvcam- 

Natasha Freidus is the Summer 
Media Institute coordinator at 
Cambridge [MA] Community 
Television. She can be reached at 


Youth Media Camp Scores at Conference 

by Bill Nay 

/" b rought my fatn i ly to our firs t 
'./Alliance conference in Atlanta eight 
K^r years ago, hoping that there would 
be some activities for my little ones. 
Finding none planned, I had to resort to 
trading Hometown Awards and luncheon 
tickets for babysitting so 1 could attend 
workshops. The family also spent a lot of 
time at the pool. That was the last time I 
brought the children, until recently. 

Tucson "broke the ice" in 2000, with 
the first ever Youth Media Camp offered 
as part of an Alliance conference. The 
camp was available to children aged nine 
and up. I enrolled my fifth grade daughter 
Dara in the inaugural Youth Media Camp, 
it was a great success! 

Dara (age 10): "It was the first day of 
Youth Media Camp 2000. My Dad and I 
were already late and I really didn't want 
to go for some reason. Everyone knows 
that "first day of camp" feeling. "Dad, 1 
don't want to go today, " I said, "Please 
don't make me!" 
, He made me. 

We got into groups. The small group 
talked a little about the camera and how 
to use it, then the tripod and we split into 
smaller groups. I was in a group with an 
older boy named Daniel, an adult named 
Robert, and a girl named Virginia. 

We thought about what we should do. 
We learned how to plot a movie with the 
little papers and everything, so we went to 
work. First, we came up with the idea, 
"Coffee Monster" and made the movie. 
After we shot the movie, we edited and 
then left for break. After break we watched 
it. The movie was very cool. We left for our 
hotel rooms and tomorrow's adventure. 

The next day, I 
was late again and 
we were starting a 
new project. I had to 
go in a group with 
only boys, and that 
was okay. . . I guess. 
The group was pretty 
small. There was, 
Greg, Daniel, Zach 
and an older college type dude named 
Mike. At first we couldn't think of any 
thing, and then we got it. We were going to 
do a "mime" type "hide and seek." We 
started on the edge of the parking lot and 
worked our way around the hotel and. 
Daniel (who was it) found people. If we 
did a scene wrong we did it again until we 
got it right. 

After we got back from break we edited 
the movie and put in the graphics and 
music. Thai night it was the premiere and 
I was upset because it was my last time 
with the group. We watched the other 
group's video first, then ours ,then the ani- 
mation camps too. Our movie was so cool 
and so was the other group's too. I had so 
much fun at that camp and I hope to go 
back someday." 

Dara enjoyed the Youth Media Gamp 
in Tucson so much that I offered to help 
coordinate the Youth Media Camp for 
this year's Alliance conference in 
Washington, DC. The camp started like 
any other, with concerned 
parents dropping off anx- 
ious children and camp 
coordinators running 
around trying to make 
sure all the proper forms 
and releases were signed. 
However, unlike ordinary 
camp, this one would 
not be offering swim- 
ming, boating and arts and 
crafts. And there would most certainly 
not be gym! 

Instead, gleaming iMACs were lined 
up along the tables and Canon Opturas, 
paired up with tripods, lay in neat rows 
on the floor. Early on, the camp coordi- 
nators Betty Francis, Donna Keating, 
Jackie Steven and I took a leap of faith 
and decided that this camp would be ail 
digital from the start. Apple came 

through with five 
computers that had 
iMovie editing soft- 
ware, and Fairfax 
Cable Access gener- 
ously supplied the 
camera packages. 

The instructors, 
Vilma Zefran (a high 
school media teacher) 
and Phil Shapiro (who trains teachers in 
technology) had the right skills and the 
right experience to get die camp to gel 
quickly. They focused on giving basic 
camera skills and techniques and then 
getting "hands on" as quickly as possible. 
Seven Fairfax Access volunteers were also 
available to assist in anyway. Their help 
proved to be invaluable. 

There were eight students in the camp 
with ages ranging from nine to sixteen. 
Contrary to last year's camp, the girls out- 
numbered the boys. The campers were 
full of enthusiasm and energy, and quick- 
ly set about videotaping their first camera 

The great advantage in having iMovie 
editing software was the ease of use and 
the space saving advantage of having five 
edit stations on two six-foot folding 
tables. Also the Optura cameras were 
small and light which made it easy for the 
participants to move around shooting in 
the field. The campers were all editing by 
the middle of the first day! By the third 
and final day of camp the kids had 
all shot and edited two fin- 
ished videos of several min- 
utes each. 

For the second year in a 
row the Youth Camp "pre- 
miered" their work to thun- 
derous applause at the 
Conference closing ceremony. 
And while the youths did not 
create what might be consid- 
ered socially significant work, they went 
home a little more empowered, and a lit- 
tle more literate than when they arrived. I 
expect we may see them getting 
Hometown Awards in the near future. 

Bill Nay has been involved in Access since 
1993. He is currently manager ofSPAC, a PEG 
Access facility in Shrewsbury, MA. He can be 
reached at 


Youth Producer Media Festivals 

Just a Few of the Many Offerings Available to Young Producers 

Ifle there's great self-satisfac- 
tion to be had in creating a 
media program, there can be 
even greater satisfaction when others 
recognize and herald your work as "a job 
well done". Here's some youth-oriented 
media festivals — the result of a quick Net 

AND YOUNG ADULTS is the result of five 
years of research in the Auburn area of 
Australia on the need for expression by 
people of non- English speaking back- 
grounds. In 2000, 130 films and videos 
from sixteen countries were showcased. 

DREN'S FILM FESTIVAL is the result of a 
merger of the Indianapolis-based 
National Children's Film 
Festival and the Los 
Angeles-based Backyard 
Film Festival. Its mis- 
sion is "to provide an 
opportunity for young 
people to create and 
appreciate stories 
through the lens of a 
camera." The BNCFF 
actively encourages 
partnerships in an 
effort to establish a 
network of youth 
organizations, museums and 
science centers throughout the United 
States and Canada. Steven Spielberg, 
LEGO, HBO, and the Simon Youth 
Foundation are current partners. 
h Uptltwwut. back)>ard 
film, o rg/mainpages/2001_ news, ht m I 

DREN'S FILM FESTIVAL bills itself as the 
largest children's film festival in North 
America. In 2000, it hosted 210 films 
from forty-one countries by children 
aged three to thirteen ttp://www.cicff. 
org/kidsfes t_2001 /entry, h tm 

The International Documentary 
Association sponsors the DAVID L. 

AWARDS. A $1000 cash prize is presented 
annually to recognize achievement in 
documentary film and video production 
at the college and university level. 

FESTIVAL was created in 1996 by youth 
in Cambridge, Massachusetts According 
to their website their philosophy is: if 
you want something done, "you gotta do 
it your damn self." http://www.doityour- 

Our own Alliance for Community Media's 
recognition for excellence opportunities 
to "Youth" and "Student" producers. 

FESTIVAL aims "to foster knowledge and 
understanding of wildlife and their habi- 
tat through educational 
films and other media". 
There is a student cate- 

http:llwww. wildlife- 


VAL is an offshoot of the 
Maine International Film 
Festival. It is sponsored by 
the Maine Alliance of Media 
Arts and is open to Maine 

~- J residents nineteen years of 

age and younger. 

NEXTFRAME calls itself "the world's 
largest student film and video festival." 
The Festival is held at Temple University 
in Philadelphia. 

http://www. temple, edu/ next frame/ 

The OPEN VIDEO FESTIVAL is organized 
by cable access youth producers in Tel 
Aviv, Israel. The Festival encourages 
entries by youth that use low-cost tech- 
nologies to produce media. 


sored by the lunior Achievement of the 
Hudson Valley and Big Brothers/Big 
Sisters of Rockland County (NY). There 
are two competition categories: high 
school students and college students and 
filmmakers to the age of twenty-eight. 

AWARDS is for students in grades seven 
through twelve. There are sixteen visual 
art categories and nine writing cate- 

Videonics sponsors the THOUGHTS 
TEST. The goal of the contest is to 
encourage educators and students to use 
video as a creative educational tool for 
developing communication skills. 

works "that explore today's social issues 
and popular culture from a teen perspec- 
tive by New York City youth producers." 
h ttp:ll www. 

FOR STUDENTS is an international com- 
petition for college and secondary stu- 
dents "to encourage critical thought and 
self-expression regarding population 
growth, resource consumption, the envi- 
ronment, and our common global 
fut ure . " h i ip://www. wpfvf. com/ 

FESTIVAL is produced by the Northwest 
Film Center's statewide Filmmakers-in- 
die Schools Outreacli Program and "cele- 
brates artistic excellence, technical 
achievement and originality in live 
action, documentary and animated films 
and videos made by kids, iichools and 
youth organizations in OR, WA, ID, MT, 
AK and UT." 

h ttp://www. n wfilm. org/ index, h tml 

In formation on other festivals, and 
updates on several die festivals listed here 
are available at 
merrow/irt/links/domestic. h tm. 

More conference pictures throughout this section. 
Photographers: Jeff Hansell.WitaDuran & Tim Goodwin. 

The Alliance 
elebvates 25 

he national conference in Washington, 
DC this past July was a great success as 
the Alliance celebrated its 25th 
Anniversary. More than six hundred attended 
some Fifty workshops and seminars. 

Highlights of the conference included the 
rally on the steps of Capitol Hill for PEG access 
and bandwidth. There was an International 
Reception at the Organization of American 
States. Clovis Baptista, executive secretary for 
Inter-American. Telecom-munication 
Commission, invited the Alliance to attend their 
conference in Washinton, DC this November and 
work together to further the world-wide media 
democracy movement. We had one of the largest 
trade shows with forty-two vendors, and we held 
forty- seven workshops in seven different tracks. 

Keynote speaker Gloria Tristani, outgoing 
FCC board person, spoke in glowing terms of her 
belief that "PEG access is the purest form of 
media democracy." Her full comments follow in 
this issue of OA/ffand are available on the 
Alliance website. 

The Alliance Awards Luncheon recognized 
the following for their efforts to further commu- 
nity media. The City of Brunswick and 
Brunswick Township, Ohio received the George 
Stoney Award for Humanistic Communica- 
tion, lohn Donovan of Cambridge, 
Massachusetts was awarded the Buske 
Leadership Award, and Azaka Ajanaku of 
Chicago received the Jewreli Ryan-White Award 
for Cultural Diversity. 

Plans are already underway for next year's 
conference in Houston, July 10-13, 2002. The 
theme will be "Celebrate Diversity." 


Hometown Awards 
Bigger Than Ever 

r. Thursday, July 1 2, the Alliance 
held its 24th Annual Hometown 
Video Festival Awards at the 
Renaissance Hotel in Washington 
during the 25th Anniversary 

Over 600 people attended the 
awards reception that was eroceed by 
Kojo Nnamdi (above), host of the 
nationally syndicated radio talk show, 
Public Interest, and co-hosted by 
Bunnie Riedei. 

The 24th Annual Hometown Video 
Festival received 1G81 entries from 
1038 producers in 313 cities in 44 
states and provinces. More than 400 
access professionals, community pro- 
ducers and subject specialists volun- 
teered their time to serve as judges as 
58 locations across the country. Awards 
were given to 140 different producers 
and multiple awards were given in 
about one third of the divisions. 

Rod Swartz of Princeton 
Educational Television produced the. 
awards gala while Chip Berquist of 
Waycross Community Media Center 
produced the Hometown winner tape. 
Support was given to the awards night 
by Arlington Community Television 
and Citicable (Frank Clark) of 

In honor of the 25th Anniversary, 
the special "25 Years of Access" was 
created to recognize the twenty- five 
year span of access production. Then? 
were 108 entries in this category with 
23 finalists that were judged to find the 
"top ten." Awardees were not told tbev 
had won until the evening of the 

As the nation's largest and oldest 
video festival, the Hometown Awards 
brings pride and prestige to those who 
win and it provides a standard for 
excellence in access programming. 


Award Winners Honored 
at National Conference 

/ nee again, the Alliance honored 
\ /some outstanding contributors to 
%»_■- community media at the national 
conference. The George Stoney Award for 
Humanistic Communications is given 
annually to an organization or individual 
that has made an 
outstanding contri- 
bution to champi- 
oning (he growth 
and experience of 
humanistic com- 
munity communi- 
cations. This year's 
recipient, the City 
of Brunswick and 
Township, Ohio, 
has demonstraTed 
those characteristics through years of 
service to their community. Accepting the 
award on behalf of the City of Brunswick 
and Brunswick Township for their valiant 
efforts on behalf of access were Cable 
Coordinator Jeff Neidert (above) and City 
Councilman Tom Miller. 

The Buske Leadership Award honors 
individuals who have demonstrated com- 
mitment to the mission and goals of the 
Alliance, leadership within the organiza- 
tion for the last three years, a high degree 
of involvement in the organization 
nationally, regionally and at the chapter 
level, and continuing service to the 
Alliance. John 
Donovan of 
1 Community 
I Television was this 
year's recipient. 
John is a fifteen 
year veteran of 
media: first in 
Massachusetts as 
the executive director of 
Falmouth Community Television and now 
in Cambridge, Massachusetts. John 
served as Northeast Region chair and 
redesigned and edited the Northeast 
Courier, but he is best known for his lead- 
ership on the Alliance national board 
where as treasurer he moved us from near 

financial ruin to the fiscal stability that 
the Alliance now enjoys. Persistence, ded- 
ication, quiescence, and utmost intelli- 
gence define John as a true leader and 
friend of community media. 

The Jewell. Ryan-White Award for 
Cultural Diversity is given annually to 
those persons who 
show an outstand- 
ing contribution to 
a process that 
encourages, facili- 
tates, or creates 
culturally diverse 
and /or non main- 
stream commu- 
nity involvement 
in the field of 
media. This 
year's recipient, Azaka Ajanaku, 
is a producer of the program Unity in 
Diversity: C'est la Vie on Chicago Access 
Network Television (CAN -TV). 

Ajanaku was recognized for his years 
of organizing in the Chicago Haitian com- 
munity and for promoting Haitian partic- 
ipation with CAN TV. Ajanaku's goal with 
his program is to promote cultural sensi- 
tivity, racial understanding, and commu- 
nity empowerment. He has enlisted other 
Haitians to produce programs that repre- 
sent the perspectives of women, youth, 
churches and musicians. "It used to be, 
when Haiti was covered in the main- 
stream network news, even if it was just 
for a second, Haitians here would call and 
tell each other to watch," Ajanaku says, 
"Not any more. We don't need somebody 
else to tell us what is happening in our 
country and our community." When view- 
ers ask Ajanaku how they can show their 
support for his program, he directs them 
to become CAN-TV members. "I prefer to 
direct my viewers to support CAN-TV in 
the spirit of 'collectivity' that defines pub- 
lic access," Ajanaku says. 

Who else in the community media 
family deserves this kind of recognition? 
Many people and organizations make 
outstanding contributions to the field. 
Make sure these people are honored by 
nominating them for these awards for 
next year. 

Public, Educational ond Governmental Access 
Channels: Localism & Diversity In Action 

Keynote Address to the Alliance for Community Media • July 13, 2001 
FCC Commissioner Gloria Tristani 

[As prepared for delivery] 
,/ odd afternoon, and thank you for 
|^ jfthat kind introduction Bunnie. I am 
. / delighted to join you here. First of 
all, T would like to congratulate the 
Alliance for Community Media on your 
25 th anniversary. You have not only sur- 
vived but thrived in the past quarter cen- 
tury. Having been in Washington just 
since 1997, 1 am beginning to see what a 
true achievement that is! 

Actually, one of the keys to the 
Alliance's longevity has to do with the 
clarity of your vision. Being clearly 
focused on your mission helps you avoid 
distraction or unnecessary conflict. And 
being clearly focused on your objective 
gives you credibility with Washington pol- 
icymakers. That is a valuable commodity 
in this city. That is why 1 have always been 
very interested in the Alliance's work. And 
when Bunnie asked me to join you on 
your 25th anniversary, I was happy to 

Today I would like to discuss your cor- 
ner of the video universe. The work done 
by public, educational, and governmental 
access providers has always been valu- 
able. At its most basic, PEG access 
empowers individuals and groups to use 
the media to educate and enrich their 
communities. It is television by the peo- 
ple and for the people. It represents the 
purest form of media democracy. Now, 
with the growing consolidation of the 
media, the role of PEG access is more 
important than ever. 

Industry consolidation and new 
technology — a "crisis" of sorts. 

President Kennedy was fond of 
observing that the Chinese symbol for the 
word "crisis" actually consists of two dis- 
tinct symbols — one represents "danger," 
the other "opportunity." 1 think that is 
helpful insight for where PEG access 
groups find themselves today. 

On the one hand, cable industry con- 
solidation is increasing the leverage of the 
largest cable operators in the franchising 
process. In the past, franchising authori- 

"At a time where local regulators 
may fear the growing concentration 
of cable industry power, PEG access 
providers must remind everyone of 
their inherent localism. As local con- 
trol of cable systems becomes a dis- 
tant memory, PEG access providers 
must capitalize on the concerns 
raised by consolidation." 

ties have benefited from seeing the kinds 
of deals other cable operators strike with 
their franchising authorities. But as the 
number of cable operators dwindles, the 
remaining MSOs may be able to move 
toward standardized franchise agree- 
ments. The result is that franchising 
authorities have fewer negotiated agree- 
ments from which to glean insights. That 
could make it harder for franchising 
authorities to secure the best deals for 
PEG access. 

But hopefully PEG access entities, 
working with the local franchising 
authorities, will turn this consolidation 
into an opportunity to grow PEG access. 
At a time where local regulators may fear 
the growing concentration of cable indus- 
try power, PEG access providers must 
remind everyone of their inherent local- 
ism. As local control of cable systems 
becomes a distant memory, PEG access 
providers must capitalize on the concerns 
raised by consolidation. Ask your fran- 

chising authorities to put a stake in the 
ground. Encourage them to do what they 
can to counter the trend toward bigness 
and sameness by supporting greater 
resources for PEG access channels. 

And just when consolidation may 
weaken the hand of franchising authori- 
ties, the importance of getting good 
agreements has never been greater. This 
is because of rapid advances in cable 
technology. A prime example is interac- 
tive television, ft has the potential to pro- 
vide exciting new services and features 
for millions of cable subscribers. It could 
make television more enjoyable, informa- 
tive, and educational. 

But it also could help tilt the playing 
field against PEG access channels. 
Channels overlaid with interactive capa- 
bility could gain an artificial advantage 
for viewership over "plain old" video 
channels. Another issue with interactive 
television is the importance of PEG chan- 
nels receiving accurate listings in the 
cable operator's electronic program 
guide. As channel capacity expands dras- 
tically, EPGs become more essential in 
helping viewers find the shows they want 
to watch. Not being listed In the EPG 
could have dire effects on PEG viewer- 
ship. Cable operators must make every 
effort to bring interactive functionality to 
PEG channels as well as commercial 

Nonetheless, I do not mean to over- 
simplify this task. No one really knows 
which applications will drive demand for 
interactive television. And bringing inter- 
active TV functionality to PEG channels 
will require hard work on the part of PEG 
programmers. But franchise renewals are 
rare events, and it will be important for 
franchising authorities to secure coopera- 
tion on interactive TV from cable opera- 
tors even if "interactive television" 
remains an evolving concept. 

A second area where new cable tech- 
nology heralds both promise and pitfalls 
is digital cable channels. The ability to 
transmit video in digital format is an 


exciting technical advance. It allows cable 
operators to increase the number of 
channels they provide to customers. 
Whereas analog cable systems use a six 
megahertz path to transmit just a single 
video channel, digital cable uses that 
same bandwidth to transmit up to twelve 
video channels. Digital cable represents a 
sea of change in the transmission capaci- 
ty of cable networks. 

As with interactive television, digital 
cable could marginalize PEG channels. 
Sitting among thirty or forty cable chan- 
nels, three or four PEG channels are a rea- 
sonable component of cable service and 
can be found by people looking for them 
as well as by channel surfers. Sitting 
among hundreds of channels, three or 
four PEG channels could easily get lost in 
the shuffle. 

To help avoid this, cable operators 
should use this increased digital capacity 
to renew their commitment to their com- 
munities. The Vermont Public Utility 
Commission has taken a significant step 
in this area by requiring its cable opera- 
tors to set aside ten percent of their 
broadband capacity for PEG access serv- 
ices. I am not an expert in cable franchis- 
ing, but that decision strikes me as good 
public policy. It helps ensure that PEG 
access programmers benefit from signifi- 
cant advances in cable technology while 
leaving the lion's share of channels under 
the cable operator's control. 1 hope that, 
at a minimum, digital cable technology 
will encourage cable operators to allocate 
more channels to PEG access. 

PEG access channels — an antidote 
to media concentration. 

In the past few years, the radio, televi- 
sion, telephone, and cable industries 
have undergone serious consolidation. I 
am doing my best at the FCC to ensure a 
diversity of voices and delivery systems. 
In the area of radio, for example, the 1996 
Telecommunications Act eliminated lim- 
its on national radio station ownership. 
One group owner, Clear Channel, has 
gone from owning 62 stations when the 
Act passed to owning roughly 1200 sta- 
tions today. That concerns me. 

To help counter the effects of radio 
consolidation, the FCC — under the lead- 
ership of former Chairman Bill Kennard — 
created a new service called low power 
FM radio. We believed that increased 
public access to the airwaves could be 
achieved without harmful interference 

"...the more consolidation that 
occurs, the greater the value of PEG 
access programming. PEG access is 
an antidote to the dangers of cable 
industry consolidation. It is a power- 
ful idea that part of the media 
should exist directly in the hands of 
the public rather than large corpora- 
tions. The ground-up programming 
you get when you empower individu- 
als to create their own shows can be 
a welcome contrast to the top-down, 
lowest common denominator of net- 
work programming." 

and would allow smaller non-profit 
groups to speak to their communities 
over the airwaves. Congress regrettably 
modified our initial plan, but I am 
pleased to report that over eighteen 
hundred non-profits have applied for 

I know that there are people in the 
audience who arc iow power FM appli- 
cants, and I applaud your patience! 1 am 
hopeful that low power FM licensees will 
produce the kind of diverse, communi- 
ty-oriented programming that PEG 
access producers have been giving us for 

In the same way that low power FM 
radio may help counter the trend toward 
syndicated programming, 1 hope PEG 
access providers will be beacons of 
diversity and localism in the increasingly 
consolidated cable industry. After the 
AT&T-Media One deal, the cable indus- 
try seemed to take a breath. But earlier 
this week, the spark may have been lit 
for another round of consolidation when 
Comcast, the number three cable com- 
pany, offered to buy AT&T Broadband, 
the largest cable company. 

As cable operators get bigger, control 
over programming will be held by fewer 
and fewer gatekeepers. This enormous 
power concerns me. It's one thing to say 
there are a diversity of voices out there, 
and the Internet will ensure that no one 
exerts undue control over America's infor- 
mation conduits. But look where the vast 
majority of Americans spend the most of 
their free time — in front of the television. 

For better or worse, the content of tel- 
evision has far more influence on what 
Americans know, what they think, and 
how they govern themselves than whatev- 
er is on the Internet or in the newspapers. 
Television is a uniquely powerful and 
influential medium, and government reg- 
ulators should think long and hard before 
approving another round of cable consol- 

But the more consolidation that 
occurs, the greater the value of PEG 
access programming. PEG access is an 
antidote to the dangers of cable industry 
consolidation. It is a powerful idea that 
part of the media should exist directly in 
the hands of the public rather than large 
corporations. The ground-up program- 
ming you get when you empower individ- 
uals to create their own shows can be a 
welcome contrast to the top-down, lowest 
common denominator of network pro- 

In its dealings with the nation's radio 
and television stations, the FCC has long 
promoted the goals of diversity and local- 
ism. These are fundamental objectives 
that broadcasters should aspire to. But 
while I keep hoping this diversity will 
magically appear on television networks 
each fall, PEG access programming repre- 
sents true diversity today. Just look what 
happens when you put cameras in the 
hands of average Americans — they make 
shows that look like America. One of the 
true strengths of public access program- 
ming is the opportunity for different 
groups to produce and show program- 
ming about their own cultures. 

1 also applaud the educational and 
governmental uses of PEG channels. I 
have long supported the use of technolo- 
gy to improve education. The FCC's pri- 
mary focus in. this area has been the e- 
rate. That is the plan Congress created to 
help schools and libraries pay for Internet 
connections. The e-rate plan caused 
some consumers' phone bills to rise by a 
few cents, and that generated political 


pressure on the FCC to scale back the program. The 
FCC rejected those calls, and the e-rate has proven to 
be a key contributor to getting all of America's class- 
rooms connected to the Internet. 

In the same vein, there is little doubt that educa- 
tional opportunities can be enhanced through educa- 
tional access channels. One-way distance learning has 
improved the lives of many students. I am optimistic 
that two-way distance learning will put a new face on 

And government access channels are, without ques- 
tion, an important exercise of self- governance. C-SPAN 
is a great contribution that the cable industry has made 
to Americans. It allows Americans to watch their elect- 
ed leaders do the nation's business. Whether we like 
what we see is another matter. ..but the point is we can 
see what is going on. We can then make our views 
known. We can be better-informed voters. 

The same should be true for local government. 
Allowing citizens to see their local governments in 
action is a vital democratic tool. I can think of no more 
valuable use of the communications media than to 
strengthen our democracy. Government access chan- 
nels do that in a profound way. They allow citizens to 
see parts of their government they had previously only 
read about, if that. Democracies work best when citi- 
zens have more information, not less. 

And local government is an area where interactive 
television could add some real value. How about allow- 
ing citizens to testify about matters of city business via 
a two-way interactive cable network? Reduce the barri- 
ers to participation, and you will gel more citizen 
involvement in their local governments than you ever 
imagined. That is one of the great promises of interac- 
tive PEG channels. 

Finally, I would be remiss if I did not again mention 
the work done by the Alliance for Community Media. 
The Alliance serves an important role by acting as a 
clearinghouse for PEG access best practices. There are 
more than Fifteen hundred access centers nationwide. 
Each one is a laboratory for how the cable medium can 
be used to further personal expression, community- 
building, and participation in government. But for PEG 
access to continue to evolve and improve, the best 
ideas need to bubble up to the surface. The Alliance 
facilitates this by sharing new and creative ideas at 
workshops like the ones at this convention. 

Thank you again for the chance to speak with you, 
and congratulations on twenty-five years of service. 
PEG access has a great history. Do take advantage of the 
ongoing industry and technological changes to make 
an even brighter future for PEG and its participants. 

Gloria Tristani most recently spent four years as an FCC 
commissioner, where she was chair of the FCC's V-Chip Task 
Force. She was appointed by President Clinton in 1997, after 
serving as chair of the New Mexico State Corporation 
Commission in 1996. She was named as one of the nation's 
100 most influential Hispanics by Hispanic Business 
Magazine in 1996 and 1998. She has returned to her home 
state of New Mexico, where she is active in state politics. 

The Community of 
Community Media 

by Patti Dallas 

/ / / h^n I first began working as the coordinator of our PEG 
/ '§ /start 011 in Yellow Springs, Ohio, I had no idea that I was 
joining a movement — or even an extended community. I 
was simply interested in the possibilities of local television in my 

It was at my First regional conference in Lansing, Michigan that 
I began to get a sense of the movement of community media. It was 
wonderful to be with so many people who were also involved in the 
practical concerns of public access, as well as the political aspects. I 
especially remember Bunnie Riedel's passionate presentation at 
that conference. 

Not only was I introduced to the wide range and size of the pub- 
lic access movement, but I also became aware that it was in itself a 
community. Clearly most everyone knew each other and were 
happy to be together again. It almost felt like a family reunion. 
Thanks to a scholarship from the Grass Roots Committee, I was 
hie to attend the 25th annual conference in Washington, DC. By 
s time I had also attended the regional conference in Dayton, so I 
was beginning to feel at home in the Alliance crowd. 

This was a wonderfully well-organized conference with so much 
to learn and so much to do, the hardest part was choosing. My 
interest was small public access (Yeilow Springs' population is four 
thousand) and educational access. My first session, "Access 101: 
Small Access Centers," gave me a good sense of what the role is of a 
board of directors, ideas of how to generate funds and encourage 

Since our high school has a very active video department, I was 
interested in any workshops that might help me create a stronger 
link to our schools. In the workshop, "Creative Partnerships for 
Education, Television and The Community," I got aiot of ideas and 
connected with several people involved in educational access. I'm 
still following up on leads from dial session. 

We were given so many workshops to choose from, it was diffi- 
cult to narrow it down to one per period. I regret not having more 
time for the trade show. 

The extra-curricular activities were great. I enjoyed the "Oscars" 
atmosphere at the Hometown Video Festival and seeing the kind of 
work that other people are putting out. The "Spirit of Washington" 
cruise was a lot of fun— eating, dancing and enjoying the beautiful 
view from the Potomac. 

In the closing ceremony I could appreciate a combination of 
simple reverence and respect for tribal ancestors, as well as 
acknowledgment of the sacredness of our effort to create commu- 
nity through the medium of television. 

I am very grateful to the Grass Roots Committee for giving me 
the opportunity to take part in the national conference this year. It 
has helped to strengthen my knowledge of and commitment to 
community media — and thus strengthen my community. 

Patti Dallas works part-time us the coordinator of Channel 13 in 
Yellow Springs, Ohio. She has also produced several musical cassettes and 
a video fqr young children ( 

'Exploring the 
Audiences for 
PEG Access' 
next in CMR 

Community Media 
Review is looking far con- 
tributors for our next issue, 
the theme of which is 
"Exploring the Audien ces for 
PEG Access. " Possible topics 
include audience surveys, 
media usage among differ- 
ent audiences, reading 
strategies and media litera- 
cy, the notion of the "local" 
as a way to think about serv- 
ing audiences, and how to 
turn knowledge of the audi- 
ence in to scheduling and 
promotional strategies. If 
you would like to participate 
or know of someone who 
might, please contact Bill 
Kirkpa trick (608.238. 6656, 
mwkirkpa@students. wise, ed 
u) or Pat 
(713.524.7700 ext. 13, 
patg@houston-media- Thank you! 

OAS Hosts Alliance International 
Reception in Washington, DC 

lis year, the headquar- 
ters of the Organization 
V_X of American States 
served as a stately backdrop for 
the international reception of 
the Alliance conference, which 
was co-sponsored by the First 
Amendment Center and organ- 
ized by Alliance Executive 
Director Bunnie Riedel. The 
event featured remarks by Gene 
Policinski, deputy director of the 
First Amendment Center and 
Ciovis Baptista, executive secre- 
tary of the Inter- American 
Telecommunications Commission (see 
speech excerpt following in this article), a part 
of the OAS. 

Ms. Riedel used the occasion to highlight 
the importance of media democracy through- 
out the world and welcomed a number of 
guests including lean Christophe Lingoua, the 
First Secretary of the Embassy of the Republic 
of Congo (not to be confused with the 
Democratic Republic of Congo which it 
shares a border) and representatives of the 
Bulgarian Media Coalition (BMC), there on a 
tour sponsored by the U.S. Agency for 
International Development. 

Members of the BMC spoke of their goal 
to develop independent Bulgarian media, for 
a pluralistic and free media environment, and 
were eager to learn more about the Alliance. 

The chair of the coalition, Yassen 
Boyadzhiev, said that he would like to widen 
contacts with Alliance members in order to 

Bunnie Riedel [center] with Jean Christophe 
Lingoua (left), First Secretary of the Embassy of 
the Republic of Congo, and Ciovis Baptista, exec- 
utive secretary of the Inter-American Telecom- 
munications Commission. 

gather ideas for creating strong forums for 
free speech within his country. "Bulgaria does 
not have a long history of independeni 
medias and a free press," Boyadzhiev stated. 
BMC member groups were only founded 
within the last ten years. However, because 
the BMC represents the interests of the cable 
operators and broadcasters, as well as free 
speech and human rights advocates, this 
reporter thinks that the Bulgarian Media 
Coalition has a decent chance to succeed in 
their mission. 

After the official remarks concluded, the 
audience was serenaded by the musical 
group Boliviano Ware as the early evening 
sun filtered in the grand windows of the 
reception hall. 

Baptista Calls for Collaboration 

During his speech, Secretary Baptista 
made an important linkage between the mis- 
sion and activities of the Alliance for 
Community' Media and the work of CITEL as 
it seeks to develop telecommunications infra- 
structure and universal service throughout 
the western hemisphere. Mr. Baptista indicat- 
ed that the Alliance might seize the opportu- 
nity to help champion consumer causes and 
the public interest as CITEL prepares for its 
next General Assembly to be held in Buenos 
Aires next year. An excerpt of Baptist's 
remarks follow. 

"...earlier this year the Heads of State at 
the Third Summit of the Americas said, with 
respect to telecommunications: 
'stress the importance of adopting policies to 
protect the interests of users and enhance the 
quality, efficiency, coverage and diversity of 
services; 'bear in mind the social, political, 


Conference delegates gather in the hall of the Organization of American States in Washington. 

First Amendment Center's Gene Policinski 
Cites Need for Renenwed Commitment 

economic, commercial and cultural 
needs of our populations, in particular 
those of less developed communities; 
"They also decided to, 'Recommend 
that...CiTEL develop a clear definition of 
the responsibilities of governments and 
private entities...' 

"You are probably asking yourselves 
what all this means? 

"Well, there is no single answer to that 
question, but you certainly can look at it 
as an opportunity for you to spread the 
word about the benefits to be gained 
from having available in each country of 
the Americas dedicated channels for use 
by government, educators, and the public 
as a routine part of the electronic media. 

"People throughout the Americas 
need to understand how such a system 
can and does work. 

"The activities undertaken by your 
association can rightly be thought of as 
being within the scope of activities identi- 
fied as important by the Heads of State at 
the Summit of the Americas in April. 

"I can certainly see a match between 
the activities of your organization and the 
responsibilities entrusted to C1TEL. For 
this reason, I would like to extend an invi- 
tation to your association to participate in 
the next meeting of the Permanent 
Consultative Committee II whose man- 
date covers the type of activities in which 
you are engaged. 

"I believe that both sides will benefit 
from this encounter." 

Editor's note: Bunnie Riedel and the 
author will be attending this meeting in 
November in Washington, DC. 

bmc. bulmedia. com 
www.freedomfo rum, o rg 

- prepared by JeffHansellJnternational 
Cha ir of the Alliance 

Bunnie Riedel meets with members of the 
Bulgarian Media Coalition. 

Excerpt of remarks by Gene Policinski of the 
First Amendment Center given July 1 1, 2001, 
at the International Reception, Alliance for 
Community Media International Conference 
and Trade Show, Washington, B.C. 

"Just a few days ago, we celebrated the 
225th anniversary of the founding of this 
nation. At the same time, in our latest 
annual 'State of the First Amendment' sur- 
vey, we faced results that called not for 
celebration, but for a renewed commit- 
ment and effort to advocacy for the princi- 
ples for which our nation came into exis- 

"Nearly four in ten Americans — thirty- 
nine percent— say that the First 
Amendment goes too far in the rights that 
it guarantees. 

"As worrisome as that figure is, per- 
haps even more troubling is that last year 
only twenty-two percent of Americans 
expressed that same belief. 

"A measure of the task ahead for advo- 
cates of the First Amendment is that very 
few Americans — as low as one percent — 
can name all five freedoms in the First 
Amendment ... the freedoms of speech, 
religion, the press, to petition the govern- 
ment and to assemble in groups to seek 

in a sense, we have the worst of things 
...thirty-nine percent of Americans seem 
willing to put limits on rights that they 

aren't even familiar with, . . 

"Forty-six percent of the public thinks 
the press has too much freedom — a scar}' 
figure, moderated only slightly by the fact 
that in some previous years that total has 
been as high as fifty-three percent. 

"The Founders would blush... or 
worse... They felt so strongly about an 
unfettered press that they put no modifiers 
on the reference to a free press, though the 
newspapers of their time were far more 
excessive in their criticism, attacks and 
advocacy that any we have today. 

"There seems little question to us that 
the public's perceptions about the First 
Amendment are influenced by how they 
view this most visible practitioner of its 
freedoms: The news media. 

"...there are too few of us... and the 
task is a great one. . .one that will prevail 
only if we work together. . .and together 
educate Americans and remind them of 
what can and will be lo st if we chip away — 
or add exceptions— to those precious 
foryt-five words of the First Amendment. 

"We can all ... we must all .. take up 
the torch that the Founders lit more than 
two centuries ago . . . You are in a unique 
position and uniquely qualified to do so. I 
hope that we can continue to work togeth- 
er on this noble cause." 

-edited by JejfHansell 


First Amendment Center 
programs present free 
expression issues in fresh and 
unique ways — from concerts 
featuring John Kay and Tom 
Paxton to interviews with social 
activist Dick Gregory and 
feminist author bell hooks. 
Programs feature cutting-edge 
First Amendment issues like 
internet censorship, violent 
video games, prayer in public 
schools and the news media 
in today's society. Information 
and education— not just 
talking heads. 

And it's all made available free 
of charge and in the format that 
you need by the First 
Amendment Center — part of 
the non-profit non-partisan 
foundation The Freedom Forum. 

For more information about 
how you can add these 
valuable programs to your 
station's news and information 
lineup, contact: 

Didi DeBolt 

First Amendment Center 

HI; %AT\ 

| ■ ■ WCA1 Wa] 

; Pai M 
I ... : I , ' I ! Arn * rt >r : \ i ' ! ! ! 

[( : 1 ILH LIBJ / S im ; 


\CJ H Br NY; 

M • ■ • r tie, « . - ' ; ■ ' [] M 


r ! . ti i * 

C . te pi 
I ; N T : G 
: A* I . N 11 LEVI [( »N - 
El T'E Gillette, ", 

^ amIndmeimt 



V, San i > co . Verne 


Workshops Make the Conference 

Attendees Ask for More and Offer a Few Suggestions of Their Own 

BY Pftl Garunqhouse 

- attendees responded in large 
/ numbers to workshop and over- 
I all conference evaluations with 
helpful suggestions for future workshops 
while presenting future 
planners with some 
interesting challenges. 

According to the 
Grand Planner Dave 
Vogel, "bags of evalua- 
tion forms ended up in 
my office and it looks 
like that even when 
we're bad, we're good!" 
With an average of thir- 
ty attendees per dass, any hints of not- 
so-desirable comments were minimized 
and every evaluation form provided 
praise and constructive suggestions. The 
majority of comments centered around 
the type of workshops that were most 

very specif- 
ic ideas 
and pres- 
style, and 

comments about what makes a confer- 
ence successful overall. 

A summary of the comments follow— 
the trend is obvious. The workshop 
"Award Winning Production Tips" with 
Man McKenzie from Good Morning Texas 
WFAA (Fox Affiliate) won the grand prize, 
it was suggested that this be scheduled as 
an all-day session next 
year. The Big Kids want 
to move in on the Little 
Kids Camp with one of 
their own, similar to an 
all conference docu- 
mentary workshop. The 
capital planning session 
was hugely popular and 
the basic streaming 
workshop took the 

prize for state of the art technology and 
how access is doing it! Access manage- 
ment folks enjoyed the presentation style 
of the experienced dynamic presenters. 
Common suggestions were to have 
more group discussion 
and interaction, more 
H question and answer 
•3 sessions, more time for 
speakers, and more 
tables for workshop 
materials and hand- 
outs. People requested 
expert speakers and 
ample time for sharing 
ideas, because it is so 
helpful to hear how others grapple with 
problems. Future requests were for in- 
depth discussions of policies and proce- 
dures, commercialism, programming and 
production policies, and specific infor- 
mation about how to avoid law suits. The 
choice of moving 
toward production type 
courses precipitated a 
great deal of feedback. 

Attendees would 
like to see Longer work- 
shops (possibly three in 
one day for the popular 
ones), more choices for 
workshops even if they 
overlap, repeated work- 
shops, more information about technolo- 
gy and new products, especially for 
smaller items, more vendor presenta- 
tions, more resources and contacts, and 
more information about key issues such 
as production and how to promote your 
facility and motivate staff. 

The boat tour and the trip to the Hill 
topped the list for attendees in terms of 
enjoyment. Attendees 
did have a sense of 
needing to take a 
breath and requested 
that events not be 
scheduled so close 
together on the first 
day, and that a two- 
hour break be provided 
before the night activi- 

ties. It was also suggested that planners 
facilitate interaction among attendees, 
provide a list of attendees at beginning of 
conference, facilitate communication 
between the Alliance Board and mem- 
bers, perhaps through a joint session, 
and provide 
more intro- 
ductions at 
main ses- 

People were 
with the 
vendor raf- 
fle as they 
got a 

chance to talk and spend more time with 
the vendors. Many requests came in for 
networking opportunities with others 
interested in specific topics, and that din- 
ing out lists be provided with a great vari- 
ety of restaurants by 
food, cost, atmosphere, 
and of high impor- 
tance, good elevators 
in the hotel. 
The challenge for 
future conference 
planning? Adding 
workshops. An inter- 
esting suggestion was 
to have the conference in two parts: 
Wednesday/Thursday for management 
and Friday/Saturday for production, with 
the Hometown awards on Friday. Now is 
the time to don your creative hats and 
make suggestions for upcoming confer- 
ences. By anyone's standards, the work- 
shops were a big hit at the 25th! The pop- 
ularity of PEG is on the rise, interest in 
access is increasing and by building upon 
the 2001 evaluation suggestions the 
Alliance will generate additional interest, 
participation and success! 

Pat Garlinghouse is executive director of 
Houston MediaSource, She can be reached at 




A" 1 

nd we do it very well. Over 70,000 people world- 
wide have chosen Casablanca video editing prod- 
ucts to cteate award-winning, professional-quality videos. 

Why have such an 
unprecedented number 
of people turned to the 
Casablanca? One reason is 
ease of use. Last yeat, top 
honors were taken by fourth 
gradets at Rocky Ridge 
Elementary in Hoover, 
Alabama, for a video they 
researched, wrote, shot, 
acted in and edited! 

! iu: u R K ■ - v 

a ~ : ' nH S " f '' -n *™ 

' « * ™ r * f c :5 

A secret to our success — the 
Casablanca's uniquely simple 
interface. Under it lies incredi- 
ble power of slow and fast 
motion, multi-layers, FX, rolling, 
scrolling, crawling titles and 
much more. 

And the video quality is outstanding. News stories 
edited on the Casablanca appear regularly on CNN 

Newsroom. And thousands of vidcographers and other 
commercial production firms use Casablanca video edi- 
tors for rheir daily work. 

Easy to learn yet powerful enough to let your 
imagination tun wild. Try the Casablanca Avio and 
Casablanca Kron for yourself. They're all you need to 
ed 1 1 . 

"Unbelievable. I wish I had this 
when I was working at the TV 
station. This makes teaching video 
production fun again and allows 
creativity to flow." 
— Donna Haire 

Quincy (IL) Public Schools 

Avio standalone video editor 

■ Up to 12 hours video storage 

■ Realtime transitions 

9 MPEG-2, full IBP editing 

■ Native DV 

- Avio ST $1,235 

■ Avid DV 53.795 Now shipping! 

"Wow! The Kron is so powerful 
and yet so easy to use. I don't feel 
constrained by the technology. 
Finally I can express my creativity 

— Narayan Kaimal 
Belmont, MA 


■ DVD-croarion {optional recorder 

■ Molli-layering add scrub aodio 

■ Up lu Digital-Beta quality 

■ Native DVor MPEG-2 

■ Sil.435 rVotv shipping! 


Mat roSystem US the digital video company WWW.casablanca.tV 1.877.554.2846 

Energetic Discussion Highlights White Paper Session 

'Re-thinking Access: Cultural Barriers to Public Access Television* 



by John Higgins 

fleas were flowing like wine (and 
ftastingjust as sweet) during the 
Alliance 2001 conference White 
Paper session, "Revitalizing Access 
Philosophy." Approximately 50 people 
participated in the discussion following 
the presentation, "Re-thinking 'Access': 
Cultural Barriers to Public Access 
Television," by Bill Kirkpatrick of 
Madison, Wisconsin. 

Kirkpatrick's presentation was chosen 
by competitive submission of essays dur- 
ing the spring of 2001; authors were asked 
to address a philosophical or self reflexive 
aspect of access as we look to the future. 
Kirkpatrick's essay looked at cultural bar- 
riers to access, and critically explored 
some widely held notions of access. The 
paper is available on the CMR website at 

The spirited discussion following the 
presentation primarily included people 
who have been involved with public 
access tor years in a variety of capacities. 
Here is a tasting of the ideas flowing dur- 
ing the discussion: 

Greg: I want people to value public 
access, but I don't necessarily want peo- 
ple to watch it. You don't have to watch 
this stuff — if it fits some minority group 
in community, that's okay. 

I'm intrigued by Bill's notion that 
viewers need to do work to understand 
what producers might be saying. 

Pat: I'm interested in the formulation 
that form is a way to dismiss political 
content. There are several bridges that 
help people accept "inane" programming, 
Seemingly inane stuff is important to 
access practice for legal arguments, the 
Supreme Court case after the Cable Act 
was based on this idea. One of the bridges 
to accepting "inane" programming is that 
it is a "bridge of practice." 

People accepting the notion of the 
"public sphere" usually are drawing from 
early [German philosopher] Habermas's 
writings in the 1960s, translated in the 
1980s. This is very different from 
Habermas's later writings on the topic. So 
early Habermas also becomes a bridge to 
acceptance for this programming. 

We need to separate from the notion 
of the "public sphere" the notion of the 
"marketplace of 
ideas." This is not the 
same as the public 

Elliott I: This 
reminds me of the 
scarcity of spectrum 
argument. We are act- 
ing as though there is 
still spectrum scarcity, 
and there is, in some 

How about another 
access: access to peo- 
ple at home watching TV? 

Elliott 2: There are other sorts of val- 
ues that are important to me that don't 
always follow the First Amendment, 
including that I want to reach kids and 
people who can't tell a story well. 

What will happen to access if we don't 
address these issues that Bill raised and 
that are being raised in this discussion? 
These issues matter! 

Joel: Bill is inspiring me to think of the 
"fun factor": a desire to see other crazy 
stuff, even on the zoological level. It's the 
anarchy factor. Access and technology is a 
toy.. .and from toys come things of value. 

John: I don't agree that access staff are 
trying to influence what producers do. It 
is important that we try to get people to 
think and value thought. 

I see the rap group Public Enemy as 
making a political statement, but I don't 

see the Madison teens Bill described, with 
wrestling, as making a political statement. 

Bill: I disagree. Metromen (the teen 
wrestling show described in the essay) is 
political, but not in the traditional sense 
within access. 

Noreen: I want to hear more that 
we're really looking at pictures. It involves 
fun— and voyeurism. Training can help 
people see from an alternative perspec- 

'Rethinking Access' Available on CMR website 

Writing on PF.G access usually focuses on economic and technological barriers to media 
participation: access to equipment, training, and the airwaves. In this paper, the author 
considers cultural barriers to access: popular attitudes, political approaches, and mean- 
ings associated with PEG access in mainstream media. He hopes to broaden understand- 
ing of access' social role by embedding it in larger cultural systems. To read the article, go 
to or contact Bill Kirkpatrick at 

George Stoney makes a point during the White Paper Session. 

tive. Canada, New Zealand, Australia are 
all now training youth in media literacy. 

Gary: Media literacy involves training 
the viewer — and academia can help with 

Steve: I have problems with the word 
"unwatchable" and the notion that we 
need to facilitate viewer's access as well. I 
don't speak Spanish or watch teen 
wrestling, but other people do. We have 
an affirmative step to explain to viewers 
that not everything is directed to you. 

Ann: I would like to see more discus- 
sion of the broader inclusion of cultural 
things into the political sphere, and ways 
to consider the best use of the resource. 

George: An advantage of working at 
NYU is that you can walk out of the cam- 
pus into the real world of Manhattan. 
Access exists in a real political world. We 
need to defend access. Ask people to 
compare access channels in the U.S. 
against mainstream television broadcasts: 
which looks more of what you see on the 
subway? Languages you hear? This gets 
politicians to nod. Most of us are in 
access because we're activists — we have 
our own agenda, too. We want to use 
access for this, too. 



April 10, 2002* 11-5 p.m. 

preceding the Central States Spring Conference, April 11-13. 

71 1 Bridge St. NW, Grand Rapids, Ml 49504 

$99 includes Lunch (registration fees applied to Central States scholarship fund) 

Please join us for a unique day-long, in-depth seminar on the Concept/Design/ 
Capital Campaign/Deployment/Operation/Programming and Funding of one of 
the nation's preeminent Media Centers. The Grand Rapids CMC is located in a 
Carnegiesque Library with two community television operations, broadcast FM 
radio, computer lab, full Internet Service Provider, Remote Mobile Media Labs, 
Satellite Uplinkand Downlink, Media Literacy Institute and Media Archives. The 
first 24 paid registrants will spend the day on-site at the Media Center. 

The First 24 registrants confirming payment (Visa /MC) will secure 
a seat. Refunds for cancellation available up to one-week prior. 
Toregister call616. 459. 4788x100 

A Top to Bottom Guided Tours 
A Multimedia Technology 

Applications & Synergies 
A Digital Integration 
ANon Linear Editing 
A Infrastructure Mapping 
A Network Operation Center 
A Video Streaming 
A Computer Lab 
A Mobile Media Labs 

(Video & Computer Applications) 
A Media Literacy 
A Community FM Radio 
A Archiving 
A Governance Models 
A Funding Diversification Models 
A Art Integration 
A Hands on Activities 
A Take With Materials 

Alliance for 

Become an Alliance Subscriber for $350/year and receive detailed reports on 
current court cases threatening access, pertinent historical case citations, and 
other Alliance for Communications Democracy activities. 

> Voting membership open to non-profit access operations for an annual 
contribution of $3,000. 

> Assoicate, Supporter and Subscriber memberships available to organizations 
and individuals at the following levels: 

• Alliance Associate, $2500 - copies of ail briefs and reports. 

• Alliance Supporter, $500 - copies of all reports and enclosures. 

• Alliance Subscriber, $350 - copies of all reports. 

Direct membership inquiries to ACD Treasurer Rob Brading, 

Multnomah Community Television, 26000 SE Stark St., Gresham, OR 97038, 

telephone 503.667.7636, or email at 

Happy 25th to the Alliance for Community Media! 

For more than 10 years, the 
Alliance for Communications 
Democracy has been fighting 
to preserve and strengthen 
access. Though the odds against 
us have been high, and the 
mega-media, corporate foes 
well-heeled and powerful, time 
and again we've won in the 
courts. We can't continue this 
critical work without your 
support. With the ramifications 
of the 1996 Telecommunications 
Act manifesting themselves, and 
new legislation on the horizon, 
we must be vigilant if we are to 
prevail and preserve democratic 
communications. If not us, who? 
If not now, when? Please join 
the Alliance for Communications 
Democracy today! 



Visit our web at httpJ/www.tUtraccom 

site to see a list of satisfied users 
and learn mofe about how PEG/SYS 
can automate your facility. 

The Intelligent Station Management 
System for Today's PEG Operators 

PEG/SYS is THE cost effective station 
management solution for today's Public, Education 
and Government Cable Access Channels. 

PEG/SYS includes hardware and software 
components designed for PEG operators with 
limited staff and budget. Components include: 

• Station Automation Software 

% Digital Server and Encoding Systems 
•Tape Automation Systems including Mini-DV 

• VCR Control 

• Digital VCR's 

• Digital Video Archive Solutions 

• Internet Access 

• Web Casting Solutions 

• Video On-Demand 

PEG/SYS offers: 

• Complete station automation 
•24/7 operating capability 

• Router Control 

• Remote Access and Error Paging 
•Traffic Manager Interface 
*Web Interface 

• Interface to FACIL software Summer 2001 
•Plus many other features normally 

found in higher end solutions 



3353 Earhart Drive, Suite 212 -Carrollton.TX 75006 
Toli Free: 800.601.6991 
Phone: 972.980.6991 "Fax: 972.980.6994 

Trade Show a Hit with Alliance Members 

'the real question was how to find time to see everything and talk to everyone.' 

by Jeff Hansell 

, ecause the 2001 Trade Show at 
this year's conference featured 
over forty vendors, the real ques- 
tion for me was how to find time to see 
everything and talk to everyone. A difficult 
task in any year but with more new prod- 
ucts and new program suppliers on site, it 
proved impossible. Memo to next year's 
planners: If you can carve out one slice of 
the conference just for the trade show- 
perhaps an informal cocktail hour, or an 
expanded breakfast— it would make it 

easier to test new gear or ask those critical 
questions without missing a workshop or 

Otherwise I was most impressed with 
the Draco exhibit and the booth of the 
Organization for American States (OAS) 
and the Pan American Health 
Organization (PAHO), 

Draco's Casablanca Avio and Kron 
seem tailor-made for a community TV sta- 
tion, especially for producers with little 
fluency with PC/MAC platform non-linear 
edit systems or who are new to the con- 
cept of editing itself. Based on Draco's 
original "Cassie," these two all-in-one edit 
boxes (reminds me of Quantel's Edit Box) 
were easy to figure out almost immediate- 
ly, and did not require an in-depth under- 
standing of PC or Mac protocol. The AVIO 
is so attractively featured and affordably 
priced it is becoming a "must" for increas- 
ing numbers of PEG access channels. The 
KRON (sounding like a 1950s' sci-fi flick) 
is more expensive, but better suited for 
the digital century and due for an upgrade 
to burn DVDs of final edits. Both models 
have a great feature allowing the user to 
specify different on-screen languages: a 
major selling point if your producers are 
more ethnically diverse. 

The OAS/PAHO booth attracted me for 

their combined outreach to ethnic audi- 
ences and the range of programming. The 
Americas Alive series covers a lot of 
ground, figuratively and literally. From 
peace building in Haiti 
to the struggle for 
democracy in 
Guatemala; from 
artist profiles to the 
Music of Americas, 
the OAS offers limit- 
ed free videos and 
their website allows 
you to preview the 
videos before purchas 
ing ($20 per tape Spanish/English). The 
PAHO offers a few free tapes and sells an 
equally wide variety of PSAs, educational 
videos, and documentaries with titles like: 
Health and Democracy, Faces of AIDS, and 
Street Children: Lives at Risk ($35 per tape, 
up to four languages). While most PEG 
centers may be limited in resources to 
purchase the videos, I have the idea to 
partner with one or two organizations in 
my town to help fund the purchase of 
additional videos and then have the 
groups frame the local issue or edit the 
video into another local show. 

Following are a few reviews of the 
trade show. Please 
go the CMR online 
(communitymedi- for 
more complete ver- 
sions. Submit your 
own trade show 
reviews by email to, and 
they too will be 
included in the 
CMR website. 

• • • 

"The best vendors were Apple and 
Casablanca (Draco) because they engaged 
participants in product demos, I thought 
overall the trade show was a success and 
appreciated their support for access. More 
vendor-led technical workshops would be 
good. The Apple guy gave an excellent 
Final Cut- Pro workshop." 

- John Luvender 
"I thought the trade show was the best 

one I have ever attended (out of six). It 
appears that vendors are finally seeing 
access as a serious market. The one thing 
that detracted from the experience was 
the orange raffle cards. I realize that the 
vendors want us to visit them, 
but not just to initial a 
raffle card. It seemed 
like every time a vendor 
was sharing the informa- 
tion that I needed, he or 
she was interrupted by 
' people who just wanted 
their cards initialed but had 
no interest in what the ven- 
dor was saying..." 

-Jim Kenny 

"I liked the number and diversity of 
vendors. My main complaint was that 
some hardware vendors didn't have 
enough handouts... (which) would have 
provided useful information and prompt- 
ed discussion with the representatives. I 
thought the signature cards were childish 
and saw many people going up to reps 
just to get them to sign the cards, and not 
talking about products." 

- Barry Benioff 

"I thought the trade show was great! 

The idea of having ven- 
dors sign off at each 
booth for the raffle was 
a stroke of genius. I 
went to booths I passed 
earlier and discovered 
that I did need to visit 
them. Appearances can 
be deceiving and booths 
that I thought did not 
pertain to where I 
worked actually did have useful informa- 
tion. The Facil booth and Panasonic guys 
had some interesting new toys." 

- Russ Hanagan 

"I was blown away by the Buhl cool 
studio lights. Many states' power compa- 
nies will give you huge rebates to shift 
over to these power saving lights." 

-Wendy Fleet 

Jeff Hansell is executive director of 
Maiden [MA] Access TV. Contact him at 



Performing • Visual • Film 

Classic MTV 

Free classic arts programming 
Downlinked from Satellite G1R-5 
For your PBS or non-commercial channel 
Available unscrambled, 24 hours a day 
A new 8 hour show (shown 3 times a day) 
every week 

The best professional public service 
programming on the air 
Fantastic viewer response 

If you can receive C-Band satellite transmissions you can do an air 
check of Classic Arts Showcase right now. Just tune into Satellite 
Galaxy 1R-5 and watch our free program whenever you like - 
we're always on. You will see clip after clip of great classic arts 
performances, with absolutely no commercials, ever. 

Classic Arts Showcase is a gift from the Lloyd E. Rigler - Lawrence 
E. Deutsch Foundation, created in an effort to increase interest in 
the arts. There will never be any charge for Classic Arts Showcase. 

Fill out the application, fax it back to us, and you can start re- 
broadcasting CAS today. Your viewers will love us. 


Charlie Mount, Distribution 
PO Box 828 • Burbank, CA 91503 
(323) 878-0283 • Fax (323) 878-0329 
cmcasmail @ earthlink . net 

Visit us at 

Do an air check of CAS right now. 
Tune to Satellite Galaxy 1R-5. 

(J33°West/C-Band/Horizontal FRQ. 3800 MHz) 

Continuous Video 
Clips from the 
Worlds of 





< Inf oChannel 


8 WET Weather 
© NBS Network 
23 CTV Community TV 
M PBJ Public TV 
m PHL Attentown 
<2® DTV Discovery 
PPV Movie Channel 

& News 

Easily create and update professional 
looking programs. Promote your public 
access pay-per-view and premium channels. 

2@@3 SSS^fe SgECEeffl 
Riverside Academy 7 
Albright Township 3 

Springfield 7:30 pm 

Albright Township kickoff 

Access & 

Improve the quality and image of your 
channel with the included content 
library and array of effects and transitons. 



Schedule and track an unlimited 
number of ads. Maximize your 
advertising revenue. 

nformation ca 
our website at 

InfoChannel is a complete production system for making your 
own multimedia TV channels. It's a flexible and easy to use 
tool to create professional broadcast quality programming in a 
snap. Integrate text, graphics, video and sound, then schedule 
and run from a desktop PC. Anyone can do it! 

New Product! 

InfoChannel Reporter. 

Reporter enables anyone to easily create and update 
multimedia messages on their InfoChannel system using a 
standard networked PC. With Reporter's WfndowsO-based 
template interface, anyone in an organization can become a 
news editor with minimal time ana training. 

Sea la is now offering training classes 
for InfoChannel IC200! 

Learn how to create dynamic InfoChannel scripts during a 
two-day IC200 workshop. This hands-on workshop will give 
you the knowledge and confidence in authoring, sound, 
video, animation, scheduling and networking. 

$695 Price includes: 

■ All course materials 

• Take home CD ROM including the course materials 
covered, tree Reporter templates and free 

Scala backgrounds 

■ Lunch 

• Workshop is limited to 20 participants 

• Group discount: When three enroll from your 

organization, a fourth attends FREE! 

You have a choice... 

t\/isioi\t + 1 .800.724.4044 

Cable Channel Automation Solutions 

MVP- 2000 Digital Video Player 

The One Rock Unit Head End 

MPEG Video/ Audio Playback * PRO-BUS Conlrol for 
up to 1 6 VCRs/LDPs/DVDs * 4x3VAA Routing Switcher 
with Video Detection ♦ Control for Select External 
Routing Switchers A Network Access and Control 

TCD-1000 Event Controller 

Ideal for Expanding Systems 

LGX-BUS & PRO-BUS Control for up to 64 VCRs/LDPs/ 

DVDs *• Control tor Select External Routing Switchers 
up to 99x64 ♦ GPI Inputs & Outputs 

PRO- 16 Event Controller 

T(->« Afl In Hna P/«w("irt fir Crtfi i4lr-it 

A Smaller Version of the PRO- 16 

PRO-BUS Control for up to 16 VCRs/LDPs/DVDs ♦ 
Internal 8x3VAA Routing Switcher with Video Detection 

♦ WinEM-LT Scheduling Software Included 

MiNI-T-PRO Event Controller 

The Low- Cost Playback Solution 

PRO-BUS Control for up to 1 6 VCRs/LDPs/DVDs ♦ 
Internal 8x1 VA Routing Switcher with Video Detection 

♦ WinEM-LT Scheduling Software Included 

Specializing in cable television automation since 1985 


CONTROL PRODUCTS • • (800) 243-5589 

The Anncnl^effj/CPB Channel 

Unparalleled educational programming, available 24/7. 

Use a lot or a tittle to round out your schedule. It's free. 
\ / 
Contact Dana Rouse at 1-800-228-8030 ext. 4 or 

www. I 



Community Media Center 

711 Bridge St. NW 

Grand Rapids, Ml 49504-7514 

Printed on 
Recycled Paper 

Non-Profit Org. 
U.S. Postage 

Grand Rapids, IV 
Permit 918